Produced on the occasion of the exhibition Speaker Receiver at Kunsthalle Basel, Basel, 17 June–29 August, 2010.

This monograph brings the diverse aspects of Davey’s work together. It features “Index Cards”, a new piece of writing by Davey, in which she reflects on subjects such as a recent illness, her personal mapping of Paris and her habit of reading newspapers. Rather than formulating a systematic argument, the essay unfolds in a series of short “takes” or fragments.

Photographs distributed in order of their appearance within the texts interrupt the various writers’ contributions. Furthermore, for Davey’s own essay, and for the interview, the artist chose to reproduce her photographic “Mailers”, a unique series and format of work that Davey likes to refer to simply as “mail art”.

Rosemarie Trockel is widely regarded as one of the most important and influential conceptual artists in Germany. Her sculptures, collages, ceramics, knitted works, drawings and photographs are noted for their subtle social critique and range of subversive, aesthetic strategies—including the reinterpretation of “feminine” techniques, the ironic shifting of cultural codes, a delight in paradox, and a refusal to conform to the commercial and institutional ideologies of the art system.

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

Rosemarie Trockel is widely regarded as one of the most important and influential conceptual artists in Germany. Her sculptures, collages, ceramics, knitted works, drawings and photographs are noted for their subtle social critique and range of subversive, aesthetic strategies—including the reinterpretation of “feminine” techniques, the ironic shifting of cultural codes, a delight in paradox, and a refusal to conform to the commercial and institutional ideologies of the art system.

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

From the series 197 ARS PRO DOMO.

Rosemarie Trockel is widely regarded as one of the most important and influential conceptual artists in Germany. Her sculptures, collages, ceramics, knitted works, drawings and photographs are noted for their subtle social critique and range of subversive, aesthetic strategies—including the reinterpretation of “feminine” techniques, the ironic shifting of cultural codes, a delight in paradox, and a refusal to conform to the commercial and institutional ideologies of the art system.

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

With texts from B. Ruby Rich, Teresa de Lauretis, Bérénice Reynaud, Laura Poitras, Susanne Fairfax, and Kurt Easterwood.

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

Produced on the occasion of Michael Asher’s exhibition at the Hamburg Kunstverein, Hamburg, 13 October–26 November, 1989.

For the exhibition Asher produced a series of eight postcards showing and describing the vehicles that, in the Hamburg region, are used to transport solid waste to storage sites and landfills located in foreign German territory. These postcards were on sale in bookstores and souvenir shops in Hamburg.