Produced on the occasion of Hugo Canoilas being awarded the Kapsch Contemporary Art prize 2020, and the resulting exhibition at MUMOK, Vienna.

Canoilas’s combination of painting with strategies of installation and performance is evidence of an expanded concept of painting based on an awareness of contemporary social and political developments and of the appertaining philosophical and art-historical discourses. These take a critical view of our world order shaped by humanism, with its hierarchical structures of values, and they advocate an empathetic approach to nature and all creatures and animals.

You can see a video on the exhibition here.

Produced on the occasion of Aleana Egan’s solo exhibition at The Drawing Room, London, 2011.

Drawing forms the starting point of Egan’s work, with a sketchbook providing a repository for the noting down of ideas and experimentation with forms that are developed into autonomous drawings, collages, sculptures and films.Ideas are triggered through observations made during everyday life, but also by memories of childhood experiences and works of literature.

Spine resembles a catalogue raisonné of R.H. Quaytman’s work produced since 2001, the year the artist began organizing paintings in what are called “Chapters.” Conceived and written by Quaytman, this more than 400-page volume presents a full decade’s output, from “The Sun, Chapter 1” to “Spine, Chapter 20,” the latest series which revisits motifs elaborated in the preceding nineteen chapters. A text articulating the artist’s systematic pictorial practice, executed on Golden Section wood panels, is printed on the book’s unfolding dust jacket.

Produced on the occasion of Richard Tuttle’s participation in the group exhibition Das kleine Spiel zwischen dem Ich und dem Mir: Kunst und Choreografie at Kolumba Museum, Köln.

This early piece by Richard Tuttle consists of 10 drawings laid out on the floor using pieces of string. The traces of physical gestures that are incorporated into the piece open up a field of possibilities, enabling the visitors to become actors with their own agency. The notation for this piece is documented here and a video of the performance can be seen here.

Pati Hill (b. 1921 in Ashland, Kentucky, USA; d. 2014 in Sens, France) was untrained as an artist and began to use the photocopier as an artistic tool in the early 1970s, continuing to do so until her death, leaving behind an extensive oeuvre that explores the relationship between image and text. In addition to this comprehensive body of xerographic work, she published four novels, a memoir, several short stories, artist’s books, and poetry. Drawing also became an essential part of her practice. In 1975, Hill published Slave Days, a book of 29 poems paired with photocopies of small household objects.

Kristján Guðmundsson (born 1941) is a contemporary Icelandic conceptual artist. He started his career as an artist in the 1960s as a member of SÚM – a group of young artists influenced by then-new currents in conceptual and installation art. Guðmundsson’s art reflects both prevailing traditions in late 20th century western art in general, and the dominance of abstract and conceptual art in the post-war art of Iceland in particular. He has said, “I am trying to work within the field of tension that exists between nothing and something”.