Produced on the occasion of Gabriel Kuri: before contingency after the fact, South London Gallery, 29 September–27 November 2011.

Focusing on the objects and space that mediate human relationships, Gabriel Kuri explores the potential for transformation latent in familiar situations when observed from an unconventional angle. Playing with the principles of minimalism and the history of consumption, he integrates elements of everyday life into sculptures and collages. Residues of human interactions—plastic bags, advertising flyers, receipts, and tickets—are brought together with stones, coins, and cigarette butts. He questions the given tenets of contemporary culture, through poetic juxtapositions and hybrid objects that rethink the mundane and find the eloquent and the extraordinary in daily life.

Designed by OK-RM, London.

Casco’s issuing of renowned American dancer and choreographer Deborah Hay’s solo dance score No Time to Fly (2010) publicly addresses delay in our lives and work. The experience of delay in our lives and work. The experience of delay indicates the notion of time particular to the contemporary condition of production and communication. It is even more palpable in the practice of publishing. The publication No Time to Fly is motivated by the delayed Casco publication the Grand Domestic Revolution Handbook. Hay’s score prompts one to rethink how to see, respond, behave, and act, especially with respect to our habitual works, sense of disjointed time, and disturbed perception. With cover image by artist Judith Hopf.

Invitation produced on the occasion of Lutz Bacher, What’s Love Got to Do With It at Kunstsammlung Nordhein-Westfalen, Düsseldorf, 7 September, 2018–6 January, 2019.

American artist Lutz Bacher made work spanning an array of media since the 1970s. The game of hide-and-seek she played with her own self by working under a masculine pseudonym since early on in her career can serve as a helpful entry point to Bacher’s artistic practice. It centered around issues of identity, power structures, and violence, all the while remaining ambiguous and enigmatic.

In Untitled (2017), Donald Trump’s signature is enlarged and repeated on white paper that runs across the walls of all three exhibition galleries. The work is intersected by hastily scribbled notes from everyday life in Open the Kimono (2018), and ostensibly meaningful, zen-inspired sentences in Black or White (2018), which pass by in an endless loop on giant screens.

Produced on the occasion of Allan Sekula: Photography at work at Beirut Art Center. The late american artist was an influential photographer, writer, filmmaker, theorist and critic whose works have been a unique reference in debates and conversations about photography, art and politics for over 40 years. Allan Sekula’s work is largely invested in social and economic critique, particularly regarding the politics of global commodity exchange and economic processes. Sekula began exploring the american middle-class of the West Coast at the time of late modernism and in its wake. Turning his camera to his own surroundings allowed him to discover the world he was living in, and assess that staging reality critically was the best way to document it. As an artist, he considered photography a medium for continuous social engagement and action.

Produced on the occasion of the exhibition 3 kunstenaars uit Praag, grafiek en collages, Jiří Kolář, Jiří John, Alena Kučerová at the Museum Boijmans van Beuningen, Rotterdam, 6 September–20 October, 1968.

Produced on the occasion of the exhibit Nina Beier, Art Statements, Art 41 Basel, 16–20 June, 2010 with the support of Bartlett Gallery, London, and Croy Nielsen, Berlin. With texts by Joanna Fiduccia, Mihnea Mircan & Chris Sharp.