The catalogue GEORGIA SAGRI GEORGIA SAGRI and I is published on the occasion of the eponymous solo exhibitions GEORGIA SAGRI GEORGIA SAGRI at Kunstverein Braunschweig, December 2017–February 2018, and GEORGIA SAGRI and I at Portikus, Frankfurt am Main, April–June 2018. As her first comprehensive publication, this catalogue surveys the multi-facetted oeuvre of the Greek artist Georgia Sagri. As the title of this book suggests, the staged objects Sagri produces are doubled modules, where each I or self can be “cross-eyed.” This effect, often produced theatrically, reorders the collective gaze to be subverted through a “catastrophe of emotions.” Across performance, video work, and sculpture, Sagri navigates the murky relationships between the artist’s body and her body of work, subjectivity and persona, original and reproduction with equal parts humor and severity.

Collected in this catalogue is both current documentation of Sagri’s work and rich archival material since 1999; together they are juxtaposed against essays by Sotirios Bahtsetzis, Daniel Horn, Ruba Katrib, Christina Lehnert, Diego Singh and Stephen Squibb, an interview conducted with Silvia Federici, and a conversation between the artist, Bettina Funcke, and John Kelsey.

Design by Yvonne Quirmbach.

Produced on the occasion of Hanne Darboven’s exhibition in the German Pavilion at the Venice Biennale in 1982.

Since the early 1960s, Stephen Willats has devoted himself to the dialogue between the artwork and the viewer.

His models from the series Multiple Clothing are specially made mix-and-match PVC garments. Each design is produced as an assemblage of clothing sections that contain either singe words, or a range of letters. These can be built up within the framework of each design, indicating the state of mind of the wearer.

This artist’s book contains diagrams, drawings and photographs of the work alongside comment and text written by Willats himself.

A video about the project can be found here.

The future is no longer the distant, mythical condition it once was to us. Technology has placed it at our fingertips, it wasn’t so long ago that we marveled at devices that could tell us where we were at that exact moment; it became odd when they recently began to tell us where we would soon be. The most important issue, however, might not be whether a future coproduced and made available to us by technology is good or bad, but rather how we want to relate to it as human beings. The three essays by Douglas Coupland collected in this volume address this question.

A key figure of Arte Povera, Mario Merz investigates and represents the processes of transformation of nature and human life: with in particular, the igloos, visually traceable to primordial habitations, become for the artist the archetype of inhabited places and of the world, as well as a metaphor for the various relationships between interior and exterior, between physical and conceptual space, between individuality and collectivity. These pieces are characterized by a metal structure coated in a great variety of common materials, such as clay, glass, stone, jute, and steel—often leaning or intertwined in an unstable fashion—and by the use of neon elements and wording.

Produced on the occasion of the exhibition, Georges Robér Collages, Tekeningen en Monotypes at the Stedelijk Museum, Amsterdam, 11 October–16 November 1969.

SM Cat. No 467.

Designed by Wim Crouwel.