Published by Museum Ludwig, Köln, on the occasion of We Call It Ludwig, 2016. With texts by Karlheinz Stockhausen and Jean-Marie Strauß.

Catalogue for the exhibitions Isa Genzken: Skulpturen, Zeichnungen, Fotografien and Horst Schuler: Bilder held 11 November–20 December, 1979 at Museum Haus Lange, Krefeld.

This catalogue is an extension of the book Giorgio Griffa: Works 1965–2015. Published on the occasion of the cycle of exhibitions dedicated to the work of Giorgio Griffa at Centre d’Art Contemporain, Geneva; Museu de Arte Contemporanea de Serralves, Porto; Bergen Kunsthall; and Fondazione Giuliani, Rome in 2015 and 2016.

From 1967 through to his most recent works, Giorgio Griffa’s painting studies have been based upon three fundamental areas of enquiry: rhythm, sequence and sign. Griffa uses a similar protocol when creating his works on paper, which have very rarely been exhibited and have remained virtually unknown to the public. One need only look through the critical literature devoted to his work, or at the long list of solo and group exhibitions he has been involved in, to see the extent to which drawing is taken into consideration only very occasionally and marginally, even by his closest commentators. However, it seems clear from the quantity and especially the quality of these works that drawing and watercolour are not just some secondary activity for this artist, or in any way subordinate to painting. As Griffa himself points out in a recent interview with Hans Ulrich Obrist, drawing is not a ‘plan for a painting,’ even though in many cases it does provide ideas for later works. Rather, it is an autonomous aspect of his work and a kind of parallel activity to painting.

Spanning more than three decades, “In Part” brings together a full spectrum of the New York–based artist, writer and activist Julie Ault’s published texts through selected extracts in a single volume. Reprinted in chronological sequence alongside a selection of full-length texts, this series of excerpts offers a timeline of Ault’s artistic development, longstanding political concerns and dynamic interpersonal affinities. The book is edited by Julie Ault and Nicolas Linnert and has an introductory text by Lucy R. Lippard. The book is published in collaboration of Dancing Foxes Press and Galerie Buchholz.

Haris Epaminonda uses video and film, collage, photography, books and objects in an extensive process of assembling and disassembling appropriated materials to reconstruct non-linear narratives. The artist works with found images from the past – sometimes faded travel photographs, or the pages of old nature magazines, ethnographic artifacts or footage from forgotten television programmes. Epaminonda then manipulates the images, cutting and layering, to create new works that feel wholly part of the present.

In tracing some of the notions and narratives embedded in Chapters, a 16 mm film shot in Cyprus in 2012, the idea of making a book came about as an exercise, or rather an experiment, to deconstruct the film into some of its subject matters. Embarking on a new set of associations between image and subject, source and information, meaning and abstraction, this book is both a document and a memory map, tracing the beginnings of a thought, a time, an image, a place.

Chapters I–XXX is published and presented in conjunction with the exhibitions Haris Epaminonda. Chapter IV at Fondazione Querini Stampalia, Venice, 14 March–18 May 2014; Haris Epaminonda. Vol. XIV at Galleria Massimo Minini, Brescia, 25 March–18 May, 2014.

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception—all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique.—Between Bridges, 2007