Early Summer The End of Summer Late Autumn is a monographic book presenting the cumulative result of a three-partite project by Daniel Gustav Cramer and Haris Epaminonda. The two artists collaborated on a triptych of exhibitions that had as its starting point a series of observations and interpretations on the work of Japanese filmmaker Yasujiro Ozu. Late Autumn (Samsa, Berlin, 2010), The End of Summer (dOCUMENTA (13), Kassel, 2012) and Early Summer (Kunsthalle Lissabon, Lisbon, 2012) were intended as a single, larger project in which Ozu’s way of composing image and time was addressed and explored by the artists in an ongoing narrative that intersects all three exhibitions. This monograph, co-published with Kunsthalle Lissabon, thus not only constitutes the afterlife of their project, but also and above all, its conclusion. The book has become the only place in which the visual narrative conceived by the artists is made visible; through the book, space and time are finally aligned, thereby allowing readers to gain a more comprehensive insight into the project’s scope, which up until this point had only ever been partially understandable, as an inevitable result of the segmented nature of each individual exhibition.

Publication reproducing Michael Krebber’s work on paper from 1986–1991 (as seen in Galerie Buchholz’s 2018 exhibition Works on Works on Paper.) Published by Gallery Bleich-Rossi, Graz. Designed by Jörg Schlick.

Mierle Laderman Ukeles’s Manifesto for Maintenance Art 1969! Proposal for an Exhibition “CARE” (1969) was a major intervention in feminist performance practices and public art. The proposal argued for an intimate relationship between creative production in the public sphere and domestic labor—a relationship whose intricacies Ukeles has been unraveling ever since. In 1977, she became the unsalaried Artist-in-Residence for the New York City Department of Sanitation, a position that enables her to introduce radical public art into an urban municipal infrastructure.

Through archival research, this monographic publication focuses on Ukeles’s work ballets—a series of seven grand-scale collaborative performances involving workers, trucks, barges, and hundreds of tons of recyclables and steel—which took place between 1983 and 2012 in New York, Pittsburgh, Givors, Rotterdam, and Tokamachi. Over the past four decades, Ukeles has pioneered how we perceive and ultimately engage in maintenance activities. The work ballets derive from her engagement in civic operations in order to reveal how they work though monumental coordination and cooperation. Mierle Laderman Ukeles: Seven Work Ballets is the first monograph on Ukeles’s seminal practice, and is as much an artist’s book as an art-historical publication.

Edited by Kari Conte. Contributions by Kari Conte, Krist Gruijthuijsen, Mierle Laderman Ukeles; conversation with Tom Finkelpearl, Shannon Jackson, and Mierle Laderman Ukeles. Designed by Marc Hollenstein.

“Our Group Wourk” is an attempt to NOT write a biography of Yugoslavian graphic designer Dragan Stojanovski. Stojanovski was the in-house graphic designer at SKC Belgrade (student cultural centre), a state-funded cultural institution established after the 1968 student uprisings to contain, pacify and institutionalize student culture as an “organized alternative”. At the same time, it was a place of avant-garde experimentation and new forms of political activism and self-organization. Dunja Blazevic, a director of the visual arts department at the SKC in the 1970s refers to Stojanovski as Yugoslavia’s first conceptual designer.

This publication was prompted by conversations and encounters with Sasa Stojanovski, Biljana Tomic, Sklavko Timotijevic, Ljubinka Gavran, Milica Tomic, Slobodan Jovanovic and Dunja Blazevic with Ziga Testen, Peter Rauch and Cornelia Durka in Belgrade in April 2013.

Publication produced on the occasion of Alina Szapocznikow’s exhibition at Galerie Cogeime, Brussels, 12 November–3 December, 1968.

Alina Szapocznikow was a polish sculptor who as a Holocaust survivor began working in the post-war period in a rather classical, figurative manner, her later experimentation and reconception of sculpture left behind a legacy of provocative objects—at once sexualized, visceral, humorous, and political—that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. Her tinted polyester-resin casts of her lips and breasts transformed into quotidian objects like lamps or ashtrays, her spongy polyurethane forms often embedded with casts of bellies or live grass, and her construction of resin sculptures that incorporate found photographs remain as remarkably biting, visionary, and original today as when they were first made.

From the 1950s through ’70s, Greek proto-Arte Povera artist Vlassis Caniaris introduced specific sites of political and personal histories into gallery and museum settings with tableau arrangements created from everyday working class objects. Material, form, texture and display comprise a sophisticated vocabulary of presentation organized to draw attention to immigrant plight and the social conditions of displacement, as well as to distinct modes of viewing and viewer-object seperation as determined by exhibition environments.