A bestiary of agencies, kinds of relatings, and scores of time.

Henrik Olesen’s R.R. originates in his reading of Donna Haraway’s The Companion Species Manifesto. Through her, Olesen reimagines Robert Rauschenberg’s ‘Monogram’ using found images of interspecies attachments overlaid with painterly gestures that are both childish and fevered.

Printed on a lightweight, soft, ink-absorbing paper stock, these images are then partially overlaid with hand collaged tip-ins. In an edition of 65. Numbered and signed.

Gėlės, flowers in Lithuanian, features an extremely rare series of pictures taken by photographer Algirdas Šeškus in the 1980s. The series is comprised of ten portraits of flowers originally commissioned as decor for an institutional building in the then Lithuanian Soviet Socialist Republic. Yet, decoration wasn’t their only purpose. In reality, the flowers were intended to lift the spirit of the workers, making them happier and more productive. Expectations that Šeškus’ images were unable to fulfill. Not finding them encouraging enough, the authorities in charge deemed the photographs unfit for the task and rejected them. And that’s how they ended up forgotten under the photographer’s couch, where they remained for the last 40 years, until now. Eventually, it is due to their quiet, dramatic character that these photographs outlived their socialist duty and reached our days. Never exhibited or published before, this book presents the complete series of rejected flowers, along with a brief account of the episode written by Šeškus. Sorrowful, yet strikingly erotic, these images ultimately belong to today: a time unfit for the uplifting.

Editied and designed by Gabriel Pericàs.

From his early days in the high desert near the small town of Bishop in southern California, Robert Kinmont’s work has been informed by the surrounding landscapes and ecosystems which also provide the foundation to his process.

Utilizing an amateur and handmade approach to both photography and sculpture, Kinmont illustrates the human scale and its relationship to one’s surroundings. Incorporating both irony and humour the works explore the systems and structures that continue to develop within this relationship.

In her essay, Julie Ault observes that “for the artist, the photographs imply the investigation of the distinct mental operations of applying a standard selection criteria to different objects, which required him to ‘re-set time,’ and to ‘think about that structural / functional criteria of our brain.’”—Exhibition Press release, 2009

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

Produced on the occasion of the exhibition Japanese Women Artists in Avant-Garde Movements, 1950–1975 at Tochigi Prefectural Museum of Fine Arts, 24 July–11 September, 2005. Including artists Atsuko Tanaka, Yayoi Kusama, Mieko Shiomi, Yoko Ono, Sawako Goda, Shigeko Kubota, Mitsuko Tabe, Miyori Hayashi, Yuri Nonaka, Takako Saito and many more.

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

A brochure produced by Jean Claude Lefèvre on the occasion of Daniel Buren’s exhibition Points de vue at ARC/Musée d’ Art Moderne de la Ville de Paris, May 5 1983.

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

The Kiyosato Museum of Contemporary Art was a private museum that opened in Kiyosato, Yamanashi Prefecture in 1990 and closed in 2014. This book, focusing exclusively on the museum’s “Ephemera” collection, is the first volume of a series of archival books on the museum’s collection.

This volume includes the works of Yutaka Matsuzawa, Claes Oldenburg, Cy Twombly, Daniel Buren, Donald Judd, Ellsworth Kelly, Hanne Darboven, John Cage, Marcel Duchamp, Robert Rauschenberg, stanley brouwn, Tony Cragg, Wolfgang Laib, and many others.