Edited by Tom Engels, Yana Foqué & Krist Gruijthuijsen, preface by Maxine Kopsa.

SUZON—both a reprint of Raimundas Malašauskas sold-out book Paper Exhibition from 2012 and a new collection of writings by the author that have happened since—offers a window onto Malašauskas’ worldview, based on collective improvisation, congregation and continuous drift. It includes essays, exhibition guides, personal letters, song lyrics, an opening speech and a cocktail recipe offering a glimpse of what perhaps in a few years we will look back upon as L’esprit du temps.

In a 1979 exhibition at the Art Institute of Chicago, American conceptual artist Michael Asher, known for his site-specific work that investigates the relationship between a piece of art and its place of display, relocated a 20th-century bronze cast of Jean-Antoine Houdon’s famous marble George Washington (1785–91) from the museum’s front steps to an interior gallery. In placing the work in a new context, Asher sought to make the viewer aware of usually invisible institutional practices–the categorisation of works of art, methods of installation, and the criteria for assigning aesthetic value.

Produced on the occasion of the exhibition Gustav Metzger, We Must Become Idealists or Die at Fundacion Jumex, Mexico City, 9 July–25 October, 2015.

This catalogue compiles in four sections archival material, photographs and texts in order to know in depth the contribution of Metzger to the critical thinking from the art for the social change. Among the key pieces within his artistic production are the manifestos that Metzger developed from 1959 to 1966, the Destruction in Art Symposium of 1966, and his public call Three Years Without Art 1977–1980.

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

Part of a large cycle comprised of different series of polyptychs with the subject matter of marble graves without any reference to dates, places or names, Sophie Calle encourages a reflection on those relationships that, in their presence or absence, define each person’s identity. Even though anonymous, each tomb in the series contains a real body that was once a person and remains alive as a memory and as a site allowing the opportunity to worship that memory by the survivors.

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

Re-Materialization of Language. 1978–2022 represents the first attempt at a philological reconstruction of the seminal exhibition Materializzazione del linguaggio, while simultaneously re-activating and re-contextualizing its historical themes in the present.

Long overlooked, the 1978 exhibition, curated by Mirella Bentivoglio and dedicated to the verbo-visual explorations of eighty international women artists across diverse materials and practices, both individual and collective, marked a belated reintegration of women’s and feminist art practices within an edition of the Biennale di Venezia that was not yet fully aware of their significance.

Featuring Annalisa Alloatti, Mirella Bentivoglio, Cathy Berberian, Tomaso Binga, Irma Blank, Monica Bonvicini, Irma Boom, BRACHA (Bracha L. Ettinger), Blanca Calparsoro, Françoise Canal, Matilde Cassani, Paula Claire, Rochella Cooper, Betty Danon, Sonia Delaunay, Agnes Denes, Chiara Diamantini, Neide Dias de Sá, Lia Drei, Janie Van Den Driessche, Anna Esposito, Amelia Etlinger, Sylvie Fauconnier, Maria Ferrero Gussago, Mona Fillières, Gisela Frankenberg, Luisa Gardini, Ilse Garnier, Rimma Gerlovina, Natalia Goncharova, Pat Grimshaw, Bohumila Grögerová, Shasha Guiga, Elisabetta Gut, Micheline Hachette, Ana Hatherly, Annalies Klophaus, Janina Kraupe, Christina Kubisch, Ketty La Rocca, Katalin Ladik, Maria Lai, Liliana Landi, Sveva Lanza, Paola Levi Montalcini, Laura Marcheschi, Lucia Marcucci, Benedetta Marinetti, Silvia Mejía, Gisella Meo, Aurèlia Muñoz, Giulia Niccolai, Anna Oberto, Anésia Pacheco e Chaves, Anna Paci, Anna Paparatti, Jacqueline Phanelleux, Jennifer Pike, Marguerite Pinney, Betty Radin, Regina (Cassolo Bracchi), Ol’ga Rozanova, Giovanna Sandri, Anne Sauser-Hall, Evelina Schatz, Mira Schendel, Greta Schödl, Eleanor Schott, Berty Skuber, Mary Ellen Solt, Marlise Staehelin, Varvara Fyodorovna Stepanova, Wendy Stone, Chima Sunada, Jacqueline Tarkieltaub, Salette Tavares, Biljana Tomić, Jean Trevor, Nora Turato, Carla Vasio, Tatiana Vladimirova Vechorka, Patrizia Vicinelli, Florence Villers, Simona Weller, Francine Widmer.

Dedobbeleer is known for his sculptures and installations in which everyday objects (such as lamp, key holder, door knob, or plant pot) are modified, assembled, and recontextualized with a distinctive tongue-in-cheek—and at times even burlesque—spirit. Adorned with absurd (randomly chosen) titles, his works can be seen as joyful collisions of language and matter. Yet, this approach is not merely an act of formal entertainment. Nourished by an in-depth knowledge of art history and (seemingly) inexhaustible technical resources, the artist’s work establishes an ongoing dialogue with a broader tradition of sculpture, including its relation to architecture, industrial design, DIY culture, images, and book making.