This four-volume set of publications focuses on Christopher Williams’ theatrical work Stage Play, first presented in 2017 at Miller’s Studio in Zürich. Housed in a slipcase, it contains documentation and the playscript for his eponymous play, related publicity and research documents, the artist’s series of open letters, and a related interview he conducted with historian Markus Krajewski on the ceramic tile façades of post-war architecture in Cologne. In addition to two critical essays by McDonough, this publication is largest collection to date of Williams’ writing.

Contributions by Christopher Williams, Tom McDonough, Markus Krajewski, Petra Hollenbach, Fredi Fischli, Niels Olsen & Oskar Rindlisbacher.

An anthology that examines the poetics and politics of interior experience within the frame of contemporary art. Through diverse discursive modes—commissioned essays, conversations and talks, historical writings, and artistic projects—this anthology, the first CCS Readers volume, examines the poetics and politics of interior experience within the frame of contemporary art.

Texts by Anni Albers, Doug Ashford, Gaston Bachelard, Angelo Bellfatto, Nova Benway, Gregg Bordowitz, Johanna Burton, Theresa Choi, Beatriz Colomina, Lynne Cooke, Moyra Davey, Tom Eccles, Diana Fuss, Jennifer Gross, Elizabeth Grosz, Roni Horn, Jenny Jaskey, Susanne Küper, Elisabeth Lebovici, Nathan Lee, Zoe Leonard, Dorit Margreiter, Josiah McElheny, Helen Molesworth, Georges Perec, Juliane Rebentisch, David Reed, Lisa Robertson, Joel Sanders, Virginia Woolf, Amy Zion.

Artists, scholars, filmmakers, and writers revisit the films of Danièle Huillet and Jean-Marie Straub. Jean-Marie Straub (b. 1933) and Danièle Huillet (1936–2006) met in Paris in 1954. Straub wanted to make a film about Johann Sebastian Bach, to which Huillet thought: “He’s planning to do far too much; he won’t manage it alone.” It was the beginning of a fifty-year collaboration, which brought about one of the most unconventional and controversial bodies of work in modern cinema. Tell it to the Stones presents variations from a prolonged re-encounter with Huillet and Straub’s work that was sparked by a three-month exhibition, complete cinema retrospective, workshops, and music performances in Berlin in the fall of 2017.

Contributing artists, scholars, filmmakers, and writers have revisited this collective experience in new texts, revised transcripts, conceptual essays, and visual montages. What happens during an encounter happens in between: between language and image, gestures and words, looks and everything unsaid. “To help us build the in-between,” is how Huillet once imagined a task for those who come to see their films. The present compendium revives these encounters and reveals the urgencies of how Straub and Huillet’s oeuvre matters today, perhaps more than ever.

Invitation produced on the occasion of Kunst und Freundschaft, a two-person exhibition by Christian Philipp Müller and Ricardo Valentim at Galerie Lars Friedrich, Berlin, 30 April–12 June, 2021.

The friendship between Müller and Valentim began when they first met in 2008 at Manifesta 7 (Trentino-Alto Adige, Italy). Though Müller now lives in Berlin, and Valentim is currently in Lisbon, for many years both artists were based in New York, where they spent much time together visiting exhibitions and discussing their shared interests including art history, the culinary arts, travel, design, and typography. Though they had not previously considered doing a show together, Kunst und Freundschaft was triggered in part by this ongoing friendship. This exhibition not only situates their friendship and links between their practices, but it also comments on the social networks that define and support art production.

More information and documentation of the exhibition can be found here.

Produced on the occasion of Kunst und Freundschaft, a two-person exhibition by Christian Philipp Müller and Ricardo Valentim at Galerie Lars Friedrich, Berlin, 30 April–12 June, 2021.

The friendship between Müller and Valentim began when they first met in 2008 at Manifesta 7 (Trentino-Alto Adige, Italy). Though Müller now lives in Berlin, and Valentim is currently in Lisbon, for many years both artists were based in New York, where they spent much time together visiting exhibitions and discussing their shared interests including art history, the culinary arts, travel, design, and typography. Though they had not previously considered doing a show together, Kunst und Freundschaft was triggered in part by this ongoing friendship. This exhibition not only situates their friendship and links between their practices, but it also comments on the social networks that define and support art production.

More information and documentation of the exhibition can be found here.

Decolonizing Ethnographic Museums, Film Archives, and Public Space.

Everything Passes Except the Past takes an artistic and discursive approach to coming to grips with a colonial past that remains present in museums, public space, and image archives. The contributions in this book propose visionary theoretical, practical, and ethical foundations for future museums based on artistic and curatorial remediation of ethnographic collections. They also cover the role of colonial films in our collective and national memory, as well as the challenges and perspectives of tearing down or replacing monuments and renaming streets.

Contributions By Yaa Addæ Nantwi, Lotte Arndt, Andrés Antebi Arnó, Bianca Baldi, Daniel Blaufuks, Filipa César, Didi Cheeka, Clémentine Deliss, Karfa Diallo, Sally Fenaux Barleycorn, Alessandra Ferrini, Fradique, Pablo Gonzáles Morandi, Guido Gryseels, Jana J. Haeckel, Didier Houénoudé, Duane Jethro, Christian Kopp, Yann Legall, Alberto López Bargados, Eloy Martín Corrales, Grace Ndiritu, Inês Ponte, Linda Porn, Tamer El Said, Bénédicte Savoy, Stefanie Schulte Strathaus, Mnyaka Sururu Mboro