Produced on the occasion of Michael Asher’s exhibition at Le Consortium Dijon, 7 June–27 July, 1991.

The work on show in Dijon depicted the heating systems in the basements of sixteen of the well-known architectural landmarks in a city famous for its tourism. On the walls of the exhibition space Asher exactly reproduced the schematic engineering diagrams of interior axial cuts for the heaters belonging to each of the buildings chosen. Painted in black at the same height as the actual heaters, the diagrams, on a purely formal level, presented eccentric shapes and seemingly abstract designs while expressing vigilant precision and regulated linearity.

A set of color postcards, meant to have been sold in the city at souvenir stores and available for viewing and purchase at the reception desk, completed the exhibition as a whole. The photographs of the heaters-displayed on postcards as if they were historic monuments or scenic views-correlated with the schematic wall drawings, grounding them in the functional reality of furnaces composed of oil burners, water heaters, pressure tanks, gages, pipes, and so on.

Skizo-Mails is the first issue of the new book series Doormats published by Errant Bodies Press. Doormats seeks to unfold creative perspectives on what the political can be today: from critical appraisals of economic injustices to experimental research and projects on public life, the series aims for new political subjectivity. Doormats supports experimental writing, rants and poetics, reflections and commentary by international voices.

Franco “Bifo” Berardi (born 1948 in Bologna) is a philosopher, cultural theorist and political and media activist.  During the 1980s he contributed to Semiotexte (NY), Chimeree (Paris), Metropoli (Rome) and Musica 80 (Milan). In the 1990s he published Mutazione e Cyberpunk (Genoa, 1993), and more recently: Felix (London, 2008), The Soul at Work (Semiotexte, 2010) and After the Future (AK Press, 2011).

Produced on the occasion of the exhibitions Pictures of the Real World (In Real Time) curated by Robert Nickas at The Consortium, Dijon; Paula Cooper Gallery, New York;  Le Capitou, Fréjus; Städtische Galerie, Göppigen; Galleria Massimo de Carlo, Milano, presenting On Kawara’s Date paintings in relation to various contemporary photographs.

Featuring the following artists; Dan Graham, Diane Arbus, Garry Winogrand, Douglas Huebler, Lee Friedlander, Larry Clark, William Eggleston, Nan Goldin, Peter Hujar, Jan Groover, Peter Campus, James Welling, Cindy Sherman, Sherrie Levine, Richard Prince, Barbara Bloom, Louise Lawler, Sam Samore, John Coplans, Barbara Ess, Andres Serrano, David Robbins, Jeanne Dunning, Zoe Leonard, Félix González-Torres, Philip-Lorca Di Corcia, Charles Ray, Robert Barry, Danny Lyon.

Produced on the occasion of Gabriel Kuri: before contingency after the fact, South London Gallery, 29 September–27 November 2011.

Focusing on the objects and space that mediate human relationships, Gabriel Kuri explores the potential for transformation latent in familiar situations when observed from an unconventional angle. Playing with the principles of minimalism and the history of consumption, he integrates elements of everyday life into sculptures and collages. Residues of human interactions—plastic bags, advertising flyers, receipts, and tickets—are brought together with stones, coins, and cigarette butts. He questions the given tenets of contemporary culture, through poetic juxtapositions and hybrid objects that rethink the mundane and find the eloquent and the extraordinary in daily life.

Designed by OK-RM, London.

Casco’s issuing of renowned American dancer and choreographer Deborah Hay’s solo dance score No Time to Fly (2010) publicly addresses delay in our lives and work. The experience of delay in our lives and work. The experience of delay indicates the notion of time particular to the contemporary condition of production and communication. It is even more palpable in the practice of publishing. The publication No Time to Fly is motivated by the delayed Casco publication the Grand Domestic Revolution Handbook. Hay’s score prompts one to rethink how to see, respond, behave, and act, especially with respect to our habitual works, sense of disjointed time, and disturbed perception. With cover image by artist Judith Hopf.

Invitation produced on the occasion of Lutz Bacher, What’s Love Got to Do With It at Kunstsammlung Nordhein-Westfalen, Düsseldorf, 7 September, 2018–6 January, 2019.

American artist Lutz Bacher made work spanning an array of media since the 1970s. The game of hide-and-seek she played with her own self by working under a masculine pseudonym since early on in her career can serve as a helpful entry point to Bacher’s artistic practice. It centered around issues of identity, power structures, and violence, all the while remaining ambiguous and enigmatic.

In Untitled (2017), Donald Trump’s signature is enlarged and repeated on white paper that runs across the walls of all three exhibition galleries. The work is intersected by hastily scribbled notes from everyday life in Open the Kimono (2018), and ostensibly meaningful, zen-inspired sentences in Black or White (2018), which pass by in an endless loop on giant screens.