A–The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeld, was published by ChertLüdde on September 2017, on the occasion of the exhibition which has the same title. The publication project presents the archive of mail art works received by the two German artists from beginning of the 1970s until the early 1990s. The exhibition presented all correspondence with artists whose surname (or name of an artistic group) began with the letter A.

Ruth Wolf and Robert Rehfeld met in Berlin in 1954 and married one year later. They played a central role in the dissemination and development of the Mail Art Movement in Germany. Their activity, spanning for more than two decades, created an impressive web of connections between artists and artistic groups from all over the world.

More information on the project and archive can be found here.

B–The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeld, is the second publication of the series presenting the archive of mail art works received by the two German artists from beginning of the 1970s until the early 1990s. This second edition deals with correspondence with artists whose surname (or name of an artistic group) began with the letter B.

Ruth Wolf and Robert Rehfeld met in Berlin in 1954 and married one year later. They played a central role in the dissemination and development of the Mail Art Movement in Germany. Their activity, spanning for more than two decades, created an impressive web of connections between artists and artistic groups from all over the world.

More information on the project and archive can be found here.

Produced on the occasion of Robert Rehfedlt’s exhibition, Zeichnungen, Collagen, Assemblagen at Galerie im Turm, Berlin, 5–28 October, 1984

Robert Rehfeldt (born Stargard 5 January 1931–died Berlin 28 September 1993) was a German Graphic artist. He is associated, in particular, with the Actionist and Mail art movements.

Exhibition poster/pamphlet produced on the occasion of Maria Hassabi’s STAGING: Solo #2 (2017), 9 December 2017 – 21 January 2018, which reimagines and adapts her multi-sited installation STAGING (2017). STAGING was previously exhibited at the Walker Art Center, Minneapolis and in documenta 14, Kassel. This new iteration will feature a lone dancer on an expanse of vivid pink carpet, enacting highly concentrated, protracted, at times barely perceptible movements. Like nearly in all of her works, STAGING: Solo #2 (2017) is a site of negotiation for her powerfully subversive performances: between the performer and their task, the spectacular and the everyday; between subject and object, bystander and viewer. In consistent ways, her pieces undermine media boundaries, clear classifications, and perceptual habits, replacing these with new, not necessarily decipherable images, while activating the viewer’s sensibilities and self-reflection to an extreme degree.

Exhibition booklet produced on the occasion of Maria Hassabi’s STAGING: Solo #2 (2017), 9 December 2017 – 21 January 2018, which reimagines and adapts her multi-sited installation STAGING (2017). STAGING was previously exhibited at the Walker Art Center, Minneapolis and in documenta 14, Kassel. This new iteration will feature a lone dancer on an expanse of vivid pink carpet, enacting highly concentrated, protracted, at times barely perceptible movements. Like nearly in all of her works, STAGING: Solo #2 (2017) is a site of negotiation for her powerfully subversive performances: between the performer and their task, the spectacular and the everyday; between subject and object, bystander and viewer. In consistent ways, her pieces undermine media boundaries, clear classifications, and perceptual habits, replacing these with new, not necessarily decipherable images, while activating the viewer’s sensibilities and self-reflection to an extreme degree.

Martin Beck is an artist whose exhibitions and projects engage questions of historicity and authorship and they draw from the fields of architecture, design, and popular culture. A ‘leitmotif’ in Beck’s practice is the notion of display: his works often engage histories of exhibiting and communication formats and, on a material level, negotiate display’s function as a condition of image-making.

His main bodies of works from the 2000s investigated how the modern conception of display developed in the mid-20th century. For his solo exhibition an Exhibit viewed played populated at Grazer Kunstverein, Beck presented works that emerged out of his research on Richard Hamilton’s 1957 an Exhibit in which colored acrylic panels, suspended from the gallery ceiling, created an environment that turned the gallery space itself into an artwork.