Curatorial Feelings is a book that collects arts practitioner Eloise Sweetman’s writing from the past decade, written on the occasion of exhibitions she curated, written on and for individual artworks, as well as for public talks. Sweetman often wrote while, and not before, the artworks were on view. The time of retrospection, and of being with artworks, imbues her language. Moving between prose and poetry, impressions and reflections, coursing through the writing is a commitment to senses, to subjectivity, to social responsibility.

Sweetman writes to the work of Malin Arnell, Gwenneth Boelens, Katarzyna Kobro, Charlotte Posenenske, Miyeon Lee, Arin Rungjang, Jo-ey Tang, Katie West, Zarouhie Abdalian, Ruth Buchanan, Sofia Caesar, Theo van Doesburg, Marcel Duchamp, Ian Kiaer, Lee Kit, Liu Chao-tze, Ma Qiusha, K.R.M. Mooney, Elena Narbutaitė, Kate Newby, Shanta Rao, Himali Singh Soin & David Soin Tapperser, and Louwrien Wijers.

Edited by Eloise Sweetman and Jo-ey Tang. Designed by Dongyoung Lee.

Edited by Hans Ulrich Obrist, Julia Peyton-Jones, Beatrix Ruf. Texts by Will Bradley, Stuart Comer.

A central figure in Glasgow’s vibrant art scene, Luke Fowler’s cinematic collages break down conventional approaches to biographical and documentary filmmaking. Fowler’s films have often been linked to British Free Cinema, the distinctive aesthetic of which came out of a conscious decision to engage with the reality of contemporary Britain in the 1950s. Avoiding didactic voice-over commentaries and narrative continuity, Fowler similarly uses impressionistic sound and editing. However, Fowler moves beyond simply referencing the work of his predecessors. Intuitively applying the logic, aesthetics, and politics of his subjects onto the film he is making about them, he creates atmospheric, sampled histories that reverberate with the vitality of the people he studies.

Produced on the occasion of Hugo Canoilas being awarded the Kapsch Contemporary Art prize 2020, and the resulting exhibition at MUMOK, Vienna.

Canoilas’s combination of painting with strategies of installation and performance is evidence of an expanded concept of painting based on an awareness of contemporary social and political developments and of the appertaining philosophical and art-historical discourses. These take a critical view of our world order shaped by humanism, with its hierarchical structures of values, and they advocate an empathetic approach to nature and all creatures and animals.

You can see a video on the exhibition here.

Produced on the occasion of Aleana Egan’s solo exhibition at The Drawing Room, London, 2011.

Drawing forms the starting point of Egan’s work, with a sketchbook providing a repository for the noting down of ideas and experimentation with forms that are developed into autonomous drawings, collages, sculptures and films.Ideas are triggered through observations made during everyday life, but also by memories of childhood experiences and works of literature.

Spine resembles a catalogue raisonné of R.H. Quaytman’s work produced since 2001, the year the artist began organizing paintings in what are called “Chapters.” Conceived and written by Quaytman, this more than 400-page volume presents a full decade’s output, from “The Sun, Chapter 1” to “Spine, Chapter 20,” the latest series which revisits motifs elaborated in the preceding nineteen chapters. A text articulating the artist’s systematic pictorial practice, executed on Golden Section wood panels, is printed on the book’s unfolding dust jacket.

Produced on the occasion of Richard Tuttle’s participation in the group exhibition Das kleine Spiel zwischen dem Ich und dem Mir: Kunst und Choreografie at Kolumba Museum, Köln.

This early piece by Richard Tuttle consists of 10 drawings laid out on the floor using pieces of string. The traces of physical gestures that are incorporated into the piece open up a field of possibilities, enabling the visitors to become actors with their own agency. The notation for this piece is documented here and a video of the performance can be seen here.