Produced to accompany John Knight’s site-specific project 87º at the Storm King Art Center. Installed on Storm King’s Museum Hill, it comprised of a telescope—similar to those used by tourists at scenic overlooks—and the view through the telescope’s lens. When directed toward the 87 degrees of the work’s title, the telescope focuses in on a rounded water tower, erected by the former Star Expansion Company in 1958, just south of Storm King’s property. In prioritizing this viewpoint, Knight conceptually connects Storm King’s pastoral hills with the industrial production just beyond them. Star Expansion Company, which manufactured industrial fasteners, was owned and operated by the family that founded Storm King.

The Apothecary stems from the author’s desire to remake the sentence–to let it be capacious, preposterous, convivial, and hang it from a pronoun worn like a phantom limb. Robertson wants that ghostly pronoun to reinvent itself afresh in each sentence. Looking towards the eighteenth century, sometimes through a lens occasionally borrowed from contemporary sources, the text of The Apothecary is precise, intoxicating materia medica dispensed by one of Canada’s most important contemporary posts at the beginning of her career with the use of florid instruments.

Produced on the occasion of the exhibition, Haim Steinbach: every single day at Museum Kurhaus Kleve, 22 September, 2018–27 January, 2019 and Museion Bolzano/Bozen, 18 May–17 Sepetmber, 2019.

Haim Steinbach is well-known for his ‘shelves’ which put into question the identity of objects through selection, arrangement and presentation.

Equally important are his site-specific installations and wall works targeting institutional characteristics. These works focus on the devices of modernism such as colour, form and the grid.

Produced on the occasion of the exhibition, Jochen Lempert at CA2M Centro de Arte Dos de Mayo, Madrid, 1 June–23 September 2018.

The work of Jochen Lempert portrays the animal world in the most varied contexts: ranging from the natural habitat to Natural History museums, from the zoo to the city, in remote locations or in banal situations and objects.

In his tireless quest, Lempert has managed to create a vast archive of images that covers a wide spectrum spanning everything from everyday views to compositions that tend more towards abstraction.

“Throughout the seven sections that are woven into a unified whole, Adnan displays a remarkable sensibility for the precise details that fuse the landscapes of individual and social nightmares. Through an ingenious synthesis of the best elements of the surrealist, cut-up and Language schools of writing, Adnan has attained a unique poetic voice.”—The San Francisco Chronicle

Illustrated with etchings by Russell Chatham.

“With this book of poems Etel Adnan establishes herself as a major poet who belongs beside internationally acclaimed poets like Tranströmer, Bly, Neruda, Vallejo, and Pessoa.”—Eric Sellin