Produced on the occasion of the exhibition, Für Augen und Ohren: von der Spieluhr zum akustischen Environment: Objekte, Installation, Performances in der Akademie der Künste. 20 January–2 March, 1980.

Including the following artists; Laurie Anderson, Joseph Beuys, George Brecht, KP Brehmer, John Cage, Richard Hamilton, Dick Higgins, Joe Jones, Mauricio Kagel, Allan Kaprow, Milan Knizak, Alison Knowles, Jannis Kounellis, Christina Kubisch, Walter Marchetti, Robert Morris, Bruce Nauman, Nam June Paik, Robert Rauschenberg, Man Ray, Erik Satie, Keith Sonnier, Laurie Spiegel, Takis and others.

Produced on the occasion of the exhibition Christopher Williams: Footwear (Adapted for Use) at David Zwirner, New York, 2020.

In the 1970s, Christopher Williams studied at the California Institute of the Arts under the first wave of West Coast conceptual artists, including John Baldessari and Douglas Huebler, only to become one of his generation’s leading conceptualists. Williams’s work is a critical investigation of the medium of photography and more broadly the vicissitudes of industrial culture, in particular its structures of representation and classification. Using the process of reproduction as a point of entry, the artist manipulates the conventions of advertising, the superficiality of surface, and ultimately the history of Modernism.

More information on the exhibition can be found here.

A book inspired by Bloom’s installation at the Carnegie Museum of Art, the Kunstverein München, and the Endlichkeit der Freiheit exhibition in post-wall Berlin. The title, Never Odd or Even, is a palindrome, which parallels the artist’s investigation into the workings of symmetry and order that occurs in nature (as with butterflies and twins) and in culture (the architecture of Chinese palaces, formal gardens, Palladio, and the Nazi structures of Albert Speer). Exploring both the beauty and the horror of the ordering principles of symmetry, Never Odd or Even contains some of Bloom’s most memorable discoveries (such as a photo of identical twins showing Johnny Carson their butterfly collection). A must for Nabokov fans, whose lepidopterist spirit is conjured throughout. Presented in the form of leaves which the reader must cut apart with a knife.

Poster produced on the occasion of Hanne Darboven’s exhibition Quartett ’88, at Portikus, Frankfurt, 17 March–16 April, 1990. The exhibition was dedicated to four outstanding women of the 20th century: Marie Curie, Rosa Luxemburg, Gertrude Stein, and Virginia Woolf. The significance of their work in the fields of science, politics/society, and art/literature in the context of historico-cultural events taking place at the same time is related to the present. The structure of the work is based on an aesthetic concept developed by Hanne Darboven in the past 20 years, consisting of writing down and writing out temporal sequences of events.

”Iʼve gathered so many books (….), all about the family. This is all washing over me like a waterfall. I canʼt figure out the genealogy, the chronology flows like currents that wind around each other at different rates. (…). And now Iʼm recognizing that Iʼm part of this tribe, this family of writers writing about our tribe.”

These sentences can be found in Simone Fortiʼs new publication, The Bear in the Mirror—a wonderful collection of stories, prose-poems, drawings, photos, letters, notes and memories.

Simone Forti dives into the (his)stories of her family and of the woollen mills they once owned, trying to put all the myths and fragments of information into some kind of perspective.

Edited by Roos Gortzak and Quinn Latimer. Designed by Nerijus Rimkus.

Produced on the occasion of Tomo Savić-Gecan’s exhibition Untitled, 2010 at Bergen Kunsthall, 8 October–22 December, 2010, curated by Elena Filipovic.

Tomo Savić-Gecan constructs artworks that literally exist between present and future, here and there, between one public space and another, and between the minds of a viewer, wherever they might be, and the institutional space of the exhibition, which might happen to be somewhere else. For instance, as when he devised a situation so that visitors to an exhibition about the theme of “economy” were asked to decide on the entrance price for the visitor that would enter immediately after him or her (Untitled, 2000). Or as in his piece shown in Venice for the 2005 Biennale, where a line of text on an exhibition space’s wall recounted that the number of visitors at that very moment entering an art centre in Amsterdam was impacting the temperature of a public pool in Tallinn (the pool having been programmed to receive the real time information and alter its temperature in relation to it), (Untitled, 2005).

Designed by Manuel Raeder and Manuel Goller.

More information on the project can be found here.