Produced on the occasion of the exhibition Yayoi Kusama: Zwischen Welten wandeln at the Kunsthalle Wien, 8 February–28 April, 2002.

Yayoi Kusama’s (b. 1929) work has transcended two of the most important art movements of the second half of the twentieth century: Pop art and Minimalism. Her highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures, which allude at once to microscopic and macroscopic universes.

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

Frederik Worm and Cæcilie Trier have collaborated since 2022, combining Worm’s photographic work with Trier’s musical compositions in the context of live performances and screenings. Following their initial tour in 2022, Cæcilie Trier developed the composition Vind (‘Wind’ in Danish), which later served as the basis for their collaborative video work Vind, 43:26 min.

As a publication, Vind, 43:26 min. presents Worm’s editorial notes and Trier’s musical notations and marks their first published book work. Designed by stanza with Frederik Worm.

Scully’s Run is a new photographic monograph by Frederik Worm, accompanied by texts from Dora Budor and Alexandra Symons-Sutcliffe. Through a series of subtle and sensous images, Worm constructs a visual language attuned to dislocation, attention and the fragility of spatial belonging. The publication considers the movement not only through space, but through the image itself as a conscious relational act. In a world where the conditions of ‘home’ feel increasingly unstable, Scully’s Run proposes a way of seeing that could be both resistant and tender. Designed by stanza.

Produced on the occasion of Tetsumi Kudo’s 1995 exhibition at the National Museum of Art, Osaka. In a wide-ranging practice spanning four decades, Japanese artist Tetsumi Kudo (1935–1990) explored the human experience, interrogating the proliferation of mass consumption and the rise of technology. His oeuvre addresses themes of colonialism, racism, social cohesion, and environmental degradation through biomorphic sculptures and assemblages incorporating found materials.

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

In the late 1960s, Lee Lozano conceived of and executed a series of ‘Language Pieces’ written in the pages of her notebooks, consisting of rules and parameters for the actions that would constitute a piece. From offering money to house-guests to smoking as much marijuana as possible, Lozano boldly tested social norms, culminating in two of her most famous works: General Strike Piece (1969), which saw her retreating from the art world completely, and Decide to Boycott Women (1971), in which she ceased engaging with all members of her own gender.

Produced over the course of little more than a decade, Lee Lozano’s art is striking for its breadth and vigour. As well as paintings characterized by energy, daring physicality, and tireless investigation of the body and gender, Lozano’s oeuvre also includes conceptual works and drawings, the latter of which are the focus of this publication. A selection of the artist’s early narrative and figurative drawings from 1960 to 1964—all of which were previously unpublished—are presented alongside texts by Barry Rosen and Jaap van Liere, as well as extracts from the artist’s own diaries that capture the wit, intelligence, and anger that animated her brief yet profoundly influential career.