Koshiro Onchi was the most important figure in the ‘Sosaku Hanga’ movement from 1918 until his death, outstanding as a print artist, photographer, book designer and active as a poet, founder and editor of magazines, an author on the subject of prints, art and literature, a leader and organiser of societies and encourager of other artists.

In The Current Of The Situation is an email correspondence between artist Danae Io and curator Ioanna Gerakidi. The exchange started in 2017 and lasted over a year, creating a space to voice what could not be said in their daily phone calls. The correspondence is composed of diaristic poems written for their lovers but exchanged between one another. This continuous shift between addressee and the receiver generates a protective distance to articulate their vulnerabilities and examine the erotic. The correspondence has been presented as a performance at Kunstverein, Amsterdam in 2018 and is now published as a book by Dolce Publications with contributions in response by artist Jesse Darling.

Designed by Claes Storm.

Produced on the occasion of the performance Danae Io and Ioanna Gerakidi performing In The Current Of The Situation at Kunstverein, Amsterdam, June 7, 2018, a composition of oral stories and eroto-historiographies tracing the mnemonic representations of unrequited sentiments of eros, love, lust and desire.

Designed by Claes Storm.

You can find more on the event here.

Produced on the occasion of Ernst Caramelle being awarded the Kunstpreis der Stadt Nordhorn 1998.

Edition of 26 copies and 4 artist’s proofs, numbered and signed by the artist.

Although the title of this edition, Un jour sans pain* est un jour sans soleil [“A day without bread is a day without sun”], sounds like a typical French saying, it is simply a sentence glimpsed in a bakery where Ana Jotta used to go in Paris. But the asterisk complicates things a little: on the back of the leporello, the artist instructs us to read “pain” in the English, thus adding a sarcastic touch to this commercial motto.

The (absence of) sun and the umbrella, as well as the wallpaper designed for the presentation of the edition at Keijiban, can refer to the tsuyu, the rainy season during which they were exhibited, in the open air.

Applying strategies of mass production to handmade objects, McCollum’s labor-intensive practice questions the intrinsic value of the unique work of art. McCollum’s installations—fields of vast numbers of small-scale works, systematically arranged, are the product of many tiny gestures, built up over time. With a text by Andrea Fraser.

You can read more on the Individual Works project here and see a video about it here.

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