Judith Scott’s work is celebrated for its astonishing visual complexity. In a career spanning just seventeen years, Scott developed a unique and idiosyncratic method to produce a body of work of remarkable originality. Often working for weeks or months on individual pieces, she used yarn, thread, fabric, and other fibers to envelop found objects into fastidiously woven, wrapped, and bundled structures.

Born in Columbus, Ohio, with Down syndrome, Scott (1943–2005) was also largely deaf and did not speak. After thirty-five years living within an institutional setting for people with disabilities, she was introduced in 1987 to Creative Growth Art Center—a visionary studio art program founded more than forty years ago in Oakland, California, to foster and serve a community of artists with developmental and physical disabilities.

Produced on the occasion of Lexicon of Infinite Movement, at the Kröller Müller Museum, 18 May, 2019–15 September, 2019, the first Dutch museum solo exhibition of Charlotte Posenenske.

The works of Charlotte Posenenske (Wiesbaden, 1930-Frankfurt am Main, 1985) consist of series in an unlimited edition. According to a number of rules, they can be made and repeated—also by others—and combined with each other. With her radical and ‘democratic’ ideas about material, production and authorship, Charlotte Posenenske influenced and shaped conceptual and minimalist art of the sixties.

Curated by Suzanne Wallinga and Eloise Sweetman and featuring the work of Ruth Buchanan (New Plymouth, 1980) and Yeb Wiersma (Groningen, 1973) in reaction to the work of Charlotte Posenenske.

Also available as a PDF.

Produced on the occasion of I See That I See What You Don’t See, the official Dutch contribution to the XXII Triennale di Milano, 1 March–1 September, 2019. Designed by Rudy Guedj.

More than thirty years ago the Swiss-Argentine artist Vivian Suter (*1949) moved to the rain forest in Panajachel, Guatemala, to live on a former coffee plantation. Since then she has worked on her impressive paintings in her wooden-hut studio, as well as outdoors. Her canvases lie on the sandy ground or hang in trees; dust, mud, leaves, mangos, and insects leave their traces on them. Her painting is influenced by organic processes and coincidence—even natural disasters are her material, when flood waters make their mark on canvases, becoming part of her large, colorful paintings. With texts by Adam Szymczyk, contributions by R.H. Quaytman, Moyra Davey, Hendrik Folkerts. Designed by Studio Manuel Raeder.

You can see Rosalind Nashashibi’s film Vivian’s Garden here.

Biography of Öyvind Fahlström written by Bengt Abrahamsson and translated by June Abrahamsson.

“Öyvind Fahlström (1928–76) was born in São Paulo to Swedish-Norwegian parents. Fahlström was unquestionably one of the twentieth century’s most innovative and versatile artists. His incentive was to investigate economical, political and social issues and the production of meaning. Rather than developing a style, he worked with a variety of different media and techniques: poetry, theater, journalism, criticism, drawing, painting, film, television, happenings, radio, objects, graphic design, and installations.”—Modern Museet

Catalogue produced on the occasion of Cathy Wilkes’ exhibition in the British pavillion at the 58th International Art Exhibition – La Biennale di Venezia. Renowned for her distinctive and highly personal sculptural installations featuring humanoid figures that highlight the tender intimacy of everyday life, Wilkes’ exhibition features new paintings and sculptures that provoke a strong emotional response in viewers, set against the backdrop of the grand architecture of the British Pavilion. This catalogue presents a collection of 13 paintings produced for the exhibition. Designed by Yvonne Quirmbach.