Produced on the occasion of the survey exhibition, Charlotte Posenenske: Work in Progress at the Kunstsammlung Nordrhein-Westfalen, 30 May–2 August, 2020.

In the 1960s, parallel with American Minimalism and the emerging Conceptual Art, Charlotte Posenenske (1930–1985) developed an impressive body of minimalist works within just twelve years, thus demonstrating her innovative understanding of art. Although the artist, who worked in Frankfurt am Main, exhibited during her lifetime together with artists such as Carl Andre, Donald Judd, and Sol LeWitt, and, in 1967, had an exhibition in the gallery of Konrad Fischer in Düsseldorf, which had opened only shortly before, her contribution to the discourse of Minimalism and Conceptual Art remained largely ignored for a long time.

Nil Yalter’s works emerge from current polit­ical si­tu­a­tions such as the sen­tenc­ing to death of a Turk­ish ac­tivist, dai­ly life in a wo­m­en’s pri­son, or the liv­ing con­di­tions of il­lit­er­ate “guest work­ers.” Language plays an im­por­tant role for her, along with cul­tu­r­al in­flu­ences from the Mid­dle East, Turkey, and West­ern Eu­rope. She sen­si­tive­ly in­te­grates the voic­es of the people de­pict­ed in her works. Us­ing a quasi-an­thro­po­log­i­cal metho­d­ol­o­gy, she re­flects the life si­t­u­a­tion of th­ese in­di­vi­d­u­als and makes margi­nal­ized groups of peo­ple vis­i­ble.

In this first volume of interviews with artists awarded by the AWARE Outstanding Merit Prize, Nil Yalter speaks about her childhood, her formative years, her political, feminist and artistic commitment, and the context of creation of her main works.

Produced on the occasion of the eponymous exhibition at FM Centre for Contemporary Art, Milan, from 4 April–26 May, 2019. The Unexpected Subject. 1978 Art and Feminism in Italy recounts the Seventies as a key phase in the history of Italian art of the 20th century, during which the spread of feminist thinking stimulates a new critical awareness that encourages many female artists, curators and art historians to rethink their role in society, life and art.

With works by Tomaso Binga, Irma Blank, Hanne Darboven, Agnes Denes, Chiara Diamantini, Amelia Etlinger, Maria Ferrero Gussago, Simone Forti, Sanja Iveković, Joan Jonas, Ketty La Rocca, Katalin Ladik, Maria Lai, Marisa Merz, Carol Rama, Mira Schendel, Carolee Schneemann, Eleanor Schott, Mariuccia Secol, Mary Ellen Solt, Biljana Tomić amongst others.

Produced on the occasion of the exhibition An Intervention at John Hansard Gallery, 12 May–27 June 2015.

Artists included were: Alice Channer, Ian Kiaer, Kitty Kraus, Phillip Lai and Bojan Šarčević. The title, An Intervention, addresses the very nature of the works; each piece intercedes the gallery space and, through subtle means, arrests the viewer to stop and consider the space both the visitor and work occupy.

As part of his practice as an artist and professor Christopher Williams’ art is founded in historical research, and the manifestations of realism in relationship to theatrical, cinematic, and photographic production from the late 60s and early 70s in Germany. Thus he inevitably came across the plays of legendary German author Franz Xaver Kroetz, this first English language translation of his play Inklusive (1971) is the product of his curiosity. Inklusive consists of seven scenes of tightly scripted dialogue of a West German couple on a prepaid all-inclusive vacation package in Italy. It is the 2nd part of a new series of books edited, designed and produced by Christopher Williams.

Initiated and designed by Stepan Lipatov, based on the project by Karin Nurnberg Iturralde, a documentation and mapping of rucola growing wild in Amsterdam.