CAConrad has worked with the ancient technologies of poetry and ritual since 1975. Their latest book is Listen to the Golden Boomerang Return (Wave Books / UK Penguin 2024). They received the Ruth Lilly Poetry Prize, a PEN Josephine Miles Award, a Creative Capital grant, a Pew Fellowship, and a Lambda Award. The Book of Frank is now available in 9 different languages, and they coedited SUPPLICATION: Selected Poems of John Wieners (Wave Books). They exhibit poems as art objects with recent solo shows in Tucson, Arizona, as well as in Spain and Portugal.

Algirdas Šeškus found photography in 1975 when he learned that he would need to bring ten photographs to a job interview for the position of cameraman at the only television channel in Soviet Lithuania. Nobody looked at the pictures, but the camera he bought for the purpose showed him the world anew, and he continued photographing for the next decade.

Produced on the occasion of Pieter Laurens Mol’s inclusion in the exhibition Passages at the Haags Centrum voor Actuele Kunst, Den Haag, 1994. A sachet that contains 4 grams of a mixture of salt and sugar.

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

Produced on the occasion of Ed Atkins’ The worm, 1 June – 1 July, 2023 at Parnassusweg 220, Amsterdam as part of the Holland Festival. Atkins presented a telephone call with his mother. “[She] is heard but not seen, while Atkins is rendered, by way of performance-capture technology, as a digital avatar who listens attentively, mumbling in agreement, sympathy, or surprise, asking a question only when her narrative falters.”

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

Produced on the occasion of the exhibition Ed Atkins at MoMA PS1, New York, 20 January – 14 April, 2013.

Known for his high-definition videos that defy narrative conventions, Ed Atkins works with filmic and text-based forms in technological transition. The artist considers HD technology deathlike because of how it intensifies the visibility of the filmed subject, creating an image that prioritises its own representation over the language, character, and emotions of the figures it depicts. Often creating installations that include collage, drawing, and other mediums, the artist deploys this bodiless movie format to highlight the conflicting intimacies that today’s mechanisms of cultural production represent and allow us to achieve.

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

Produced on the occasion of exhibitions at De Garage, Mechelen, Cultuurcentrum Strombeek & White-Out-Studio, Knokke-Heist, 15 April – 5 June, 2011. With texts by Yves Aupetitallot, Sven Beckstette, Luk Lambrecht.