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.

Produced on the occasion of Isa Genzken: Models for Outdoor Projects, held at the Bundeskunsthalle Bonn in 2016. The publication introduces Isa Genzken’s complete 42 projects for outdoor sculptures, from the years 1984–2016. Each project is extensively illustrated, with accompanying texts by Manfred Hermes both in German and English. In addition, the book contains an introductory text by Susanne Kleine.

Ian Wilson has been exploring the aesthetic potential of spoken language since the late 1960s. His ongoing body of work—beginning with “oral communication” and eventually including his signature Discussions—began in 1968 with the spoken word “time”.

Over the course of the 1970s, his discussions took on a more formal character, and his interests shifted towards ‘The Known and Unknown’, based on Plato’s ‘The Parmenides’. In contrast to a ‘performance’, during a discussion the audience can actively take part in realising the concept of ‘oral communication’. Wilson does not want the discussion to be recorded either on film or audio. Wilson summarises the core of these discussions in a book series entitled ‘section’.

Ian Wilson has been exploring the aesthetic potential of spoken language since the late 1960s. His ongoing body of work—beginning with “oral communication” and eventually including his signature Discussions—began in 1968 with the spoken word “time”.

Over the course of the 1970s, his discussions took on a more formal character, and his interests shifted towards ‘The Known and Unknown’, based on Plato’s ‘The Parmenides’. In contrast to a ‘performance’, during a discussion the audience can actively take part in realising the concept of ‘oral communication’. Wilson does not want the discussion to be recorded either on film or audio. Wilson summarises the core of these discussions in a book series entitled ‘section’.