Initiales is an art and research biannual magazine published by the École nationale supérieure des beaux-arts de Lyon, the fifth issue is dedicated to Andrea Fraser. With contributions by Kader Attia, Eva Barto, Daniel Buren, Claire Fontaine, Dora García, Thomas Hirschhorn, Sven Lütticken, Chus Martínez, Jean-Luc Moulène amongst others.

Produced on the occasion of Robert Rauschenberg’s exhibition at the Stedelijk Museum, Amsterdam, 23 February–7 April, 1968.

SM Cat. No 433.

Designed by Wim Crouwel.

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

Antonin Artaud, was a French writer, poet, dramatist, visual artist, essayist, actor and theatre director. Considered among the most influential figures in the evolution of modern drama theory, most critics believe that Artaud’s most noted contribution to drama theory is his “theater of cruelty,” an intense theatrical experience that combined elaborate props, magic tricks, special lighting, primitive gestures and articulations, along with themes of torture and murder to shock the audience into confronting the base elements of life.

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

This publication is released in conjunction with Peter Fischli’s exhibition 12 Arbeiten ohne Titel at Galerie Buchholz Cologne. It presents collages based on photographs taken throughout Zurich. For the past three years, the artist has documented peculiar “remnants of nocturnal revelry”: cars, park benches, and building façades sprayed with shaving foam—easily removable vandalistic interventions into the urban fabric, gestures of infinitesimal subversion. The foam figments are formless, lacking both definite shape and durable substance.

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

Programme produced on the occasion of Playbill Act V: Anna Daučíková & Helena Jiskrová at Torpedo Theatre, Amsterdam June 9, 2023.

Completely adept at taking on institutions that wield normative forms of power, Anna Daučíková is unashamedly informed by the value of her lived experience, a personal history that takes a guiding role within her practice, particularly the period of time during which she lived under surveillance in the former Soviet Union.

In an early photographic series titled Acadamey of the Arts (1988), Daučíková rightly takes up her position atop a plinth built into the side of the Academy of Arts building in Moscow, a subversive move given that it was a position traditionally reserved for the male greats. Daučíková went on to become a professor herself, and was for a long time one of the few women teaching at the academy in Prague. This biographical trajectory evolved into a series of films titled Portrait of a Woman with Institution, which plot out the relationships of various women to the institutions they inhabited. For Act V, one film from this series was screened, dedicated to Czech architect Helena Jiskrová. Alongside the screening, four pieces of furniture redesigned by Jiskrová from salvaged street materials set the scene for the viewing.

Produced on the occasion of Sarah Rapson’s exhibition Ode To Psyche at Secession, Vienna, November 20, 2021– February 20, 2022.