Produced on the occasion of Phillip Lai’s exhibtion at The Showroom, London, 26 February–30 March, 1997. With an essay by Francis McKee and an interview by Karina Daskalov.

Phillip Lai’s work at The Showroom involved the construction of objects and images which addressed ‘fluid’ states; the transformation via a soy-sauce fermentation unit, of solids to liquid and the absurd fusion, through biro drawn directly onto the gallery wall, of automatic drawing and the ‘letting’, or exhumation, of a consciousness.

More information on the exhibition can be found here.

With more autonomy in 1974, Kosovo saw an upsurge in urban planning and architectural freedom, enabled by modernism and in turn expressed through competitive sports and a shift away from ethnic particularities, which signalled a shift West. May 25 is now October 1 is an extensive research across Kosovar newspapers published between 1974 and 2018. The book documents sports activities that took place in seven identical sports halls in seven cities of Kosovo. The images have been cropped, zoomed in on, and paired together by similarity. The choreography is not meant to render them jewels or treasures, but rather to help find their meaning beyond their meaning within the now unfashionable sports halls. Through repetition, the images and texts reveal the multifunctional nature of community space in which larger sociopolitical and cultural cycles are reflected.

The publication is a collaborative project bewtween Frac Île-de-France, the Cypriot artist Haris Epaminonda, and the Berlin designers Santiago da Silva and Simon Steinberger.

It recounts and translates the experience of the exhibition VOL. XVI, presented at Le Plateau in 2015, for which the artist had created a global environment. Through a series of parallel actions the whole exhibition was connecting the interior and exterior with the presence of an old Japanese man “living” in the exhibition and with two young women dressed in traditional Japanese costumes who were walking in the des Buttes-Chaumont Park in Paris.

With texts by Philippe Artières, Chris Sharp and Aurélie Verdier.

Produced to accompany Katinka Bock’s exhibition Radio Piombino with text by art critic and curator Anne Bonnin. Designed by graphic design collective Åbäke, the publication includes a selection of black and white photographs by Katinka Bock alongside installation images by Ruth Clark, two of which appear as gloss colour stickers. Printed on recycled matt paper and bound with red staples.

Booklet produced on the occasion of the exhibition Nieuw Licht, 8–31 March, 2001 with Kris van Dessel, Piet Dirkx, Marc Nagtzaam, Joeri De Winter.

Published on the occasion of Piero Gilardi’s 2003 exhibition at Costantini Arte Contemporanea e il Torchio Galleria d’Arte, Milan.

Piero Gilardi’s artistic practice is certainly an early statement about this evolution into a machine-made and financialized nature. From his role as one of the early protagonists of Arte Povera, to his collective actions organized for protests, and since 2008 the development of his initiative Parco de Arte Vivente in Turin, Gilardi has forged a distinctive unity between artistic practice and activism.

Since 1963 Gilardi has produced large, hyper-realistic sculptures of polyurethane foam, the so-called Nature Carpets. With these interactive sculptures he tries to give new meaning to interaction between viewer and artwork and nature and culture.