Leonor Fini was an Argentine-Italian painter who spent much of her artistic career in France. Associated with the Surrealist movement, Fini’s self-portraits and mythological paintings focused on eroticism and dreams.

*Please note this publication is secondhand and has some traces of previous ownership. (Damage to the dust jacket)

Produced on the occasion of the exhibition at the Bunkamura Museum of Art, Tokyo, 18 June – 31 July, 2005, that toured to Daimaru Museum, Umeda; The Museum of Modern Art, Gunma & Nagoya City Art Museum.

Leonor Fini was an Argentine-Italian painter who spent much of her artistic career in France. Associated with the Surrealist movement, Fini’s self-portraits and mythological paintings focused on eroticism and dreams.

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

Colouring book produced on the occasion of Kaunaus Art Book Fair, 2021. With contributions from Vytenio Buroko, Dainiaus Liškevičiaus, Aurelijos Maknytės, Beatričės Mockevičiūtės, Roberto Narkaus, Eglės Ridikaitės, Nerijus Rimkus, Ievos Rojūtės, Aurelijos Slapšytės and Anastasios Sosunovos.

Compiled by Justina Zubaitė-Bundzė. Designed by Nerijus Rimkus.

Colouring book produced on the occasion of Kaunaus Art Book Fair, 2024. With contributions from Ona Juciūtė, Mykolas Sauka, Gabija Pernavaitė, Aiste Kisarauskaitė, Augustinas Serapinas, Gediminas Akstinas, Patricia Jurkšaitytė, Rüta Junevičiūtė and Rūtė Merk.

Compiled by Justina Zubaitė-Bundzė. Designed by Nerijus Rimkus.

Of course there is the practice of art by the artist, but an exhibition is even more so an engagement between people, places, institutions, projections, desires, coincidences, memories, and temporalities. In this monograph, artist Megan Francis Sullivan chooses the format of oral history, engaging various akteurs of the field to produce a web of language reflecting a shape of time.

With discussions with Jean-Claude Freymond-Guth, Melanie Ohnemus, David Lieske, Cornelia Kastelan, John Rasmussen, Marie Angeletti, Kelsey Olson, Megan McCready, Sara De Bondt, Antony Hudek, Alexander Schröder, Valérie Knoll, Helmut Draxler, Aura Rosenberg, John Miller, Robert Müller, Cecilie Norgaard, Moritz Scheper, Maximiliane Baumgartner and an essay by Hannes Loichinger, “The Painting of Hans Haacke.”

Produced on the occasion of the exhibition R. H. Quaytman: An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017–28 January, 2018.

“R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices particular words, and how each is not just that one word, but other words as well. Quaytman’s paintings, organized into chapters structured in the form of a book, have a grammar, a syntax, and a vocabulary. While the work is bounded by a rigid structure on a material level—appearing only on beveled plywood panels in ten predetermined sizes derived from the golden ratio—open-ended content creates permutations that result in an archive without end. Quaytman’s practice engages three distinct stylistic modes: photo-based silkscreens, optical patterns such as moiré and scintillating grids, and hand-painted oil works. Each chapter is developed in relation to a specific exhibition opportunity, and consequently, each work is iconographically bound to its initial site of presentation.”—Miguel Abreu Gallery, New York