Louise Lawler focuses her camera on high art and its spaces, from the rarefied white cube to the windowless storeroom, from the collector’s luxurious bedroom to the featureless boardroom. Part institutional critique, part social commentary and part wandering gaze, Lawler’s glossy photographs redirect the viewer’s attention from the artworks to their environs, exposing a set of supple relationships surrounding the presentation and marketing of art and its role in conferring and reflecting power.

In 1984, Lawler was granted access to the homes of visionary collectors Burton and Emily Tremaine, and she has since tracked the works she photographed there as they have wended their way through museums and auction houses, this publication gathers almost all the Tremaine Pictures produced between 1984 and 2007.

Composed in the direct, accessible, consciousness-piercing style of which readers of Ariana Reines’ first two books are wildly enamoured, Mercury comprises a group of long poems. These interlocking works speak to the substance and essence of what is said, transmitted, transacted, “communicated” between persons. Reines proposes that substance and essence are opposites, and explores this in contexts including commercial cinema, the nation-state, currency, alchemy, and internet porn.

Produced on the occasion of Jason Hendrik Hansma’s exhibition A Centre Cannot Hold at Memphis, Linz, 22 July–17 September, 2020.

“Stretched across a white-walled room with grey concrete floors, a chiffon curtain billows from the wind of an open window. Past the window, leaves on a tree flutter in the wind. The curtain stretches from the ceiling to the floor and across the length of the room. Underneath the curtain, is a small, reflective strip on the tiled floor. The sun from the window and from a path leading to another room lights the space and the curtain.”

With a text by Jo-ey Tang. Designed by Christophe Clarijs.

Invitation card produced on the occasion of Jason Hendrik Hansma’s exhibition A Centre Cannot Hold at Memphis, Linz, 22 July–17 September, 2020.

“Stretched across a white-walled room with grey concrete floors, a chiffon curtain billows from the wind of an open window. Past the window, leaves on a tree flutter in the wind. The curtain stretches from the ceiling to the floor and across the length of the room. Underneath the curtain, is a small, reflective strip on the tiled floor. The sun from the window and from a path leading to another room lights the space and the curtain.”

Accompanying the first in-depth survey of her work in the UK, Linderism offers four new perspectives on Linder’s wide-ranging practice by James Boaden, Alyce Mahon, Amy Tobin and Sarah Victoria Turner. The essays address Linder’s early photomontages forged in the crucible of punk and post-punk culture in the North-West of England, as well as more recent shifts in her practice encompassing spirituality, the occult, and the surreal. Linderism is fully illustrated including extensive documentation of working drawings, and research images—the materials that have long formed the basis of her practice—as well as documentation of works included in the survey exhibition.

Designed by Julie Peeters.

Produced on the occasion of B.Wurtz’s survey shows at BALTIC Centre for Contemporary Art, Gateshead and La Casa Encendida, Madrid in 2015.

For more than 40 years, B. Wurtz has collected common, domestic objects—carrier bags, aluminium roasting trays, buttons, shoelaces—and repurposed them into meticulously formal constructions that are balanced, fragile, yet sometimes discordant. His raw material is the stuff we constantly use and constantly overlook; things that connect to life in its most everyday sense.

Wurtz’s sculpture maintains an adherence to classical forms and a play with art history, all the while responding to three fundamental needs outlined early in the artist’s career: sleeping, eating and keeping warm.