Published on the occasion of the exhibition Shandyismus, Autorschaft als Genre curated by Helmut Draxler, Secession, Vienna, 22 February–15 April, 2007.

The exhibition Shandyismus. Autorschaft als Genre refers to Laurence Sterne’s novel The Life and Opinions of Tristram Shandy, Gentleman from the 18th century. It will focus on Shandyism as a phenomenon or position, reflecting the diversity of points of contact with the media. A number of existing art works will be shown that express the methodological idiom of Shandyism. At the same time, artists have been invited to develop a “Shandyesque intervention” for the exhibition.

Artists: Monika Baer, Georg Baselitz, Bernadette Corporation, Max Bill, Marcel Broodthaers, Marcel Duchamp, Jack Goldstein, Gareth James, Sergej Jensen, Chuck Jones, David Jourdan, Jutta Koether, Louise Lawler, Olia Lialina und Dragan Espenschied, Robert Frank, Martin Kippenberger, Michael Krebber, Christian Philipp Müller, Michael Schuster, Josef Strau, Franz West sowie , Diedrich Diederichsen, Michael Dreyer, Clemens Krümmel, Franz Reitinger, Drehli Robnik, André Rottmann, Astrit Schmidt-Burkhardt, Tanja Widmann.

Texts: Diedrich Diederichsen, Helmut Draxler, Michael Dreyer, Clemens Krümmel, Shaun Regan, Franz Reitinger, Drehli Robnik, André Rottmann, Astrit Schmidt-Burkhardt, Peter de Voogd, Tanja Widmann.

Marc Camille Chaimowicz subtly intervenes in the gallery space, altering the atmosphere and décor of the environment. This catalogue, devised in collaboration with the graphic designer Adeline Morlon, reflects his working method, developing quiet, multi-perspective views of a spatial installation. Chaimowicz’s environments embrace the domestic sphere, incorporating interior design, ceramics, wallpaper and textiles. The exhibition at Kunstverein für die Rheinlande und Westfalen documented in this book shows works spanning the years 1975 to 2005 and includes objects, drawings, photo collages and paintings.

‘Spaces and their potentialities of allowing ideas to come into being forms the central pillar of interest for the artist Marc Camille Chaimowicz… for the first time ever in a German institution, he has realized his ideas in a richly faceted manner and shown his work to an interested and curious audience.’—Rita Kersting

Published on the occasion of Marc Camille Chaimowicz, Peinture et objets at Le Consortium, Dijon, 10 September–15 October, 1994. Texts by Stuart Morgan, Xavier Douroux, Jean Rosen.

Born in 1947, Paris, Marc Camille Chaimowicz lives and works in London. Chaimowicz’s continuous negotiation of two cultures and languages quietly reverberates throughout his pluralistic practice. He embraces both the fine and applied arts and challenges the categorical divisions between masculine and feminine, public and private, past and present.

Published on the occasion of Marc Camille Chaimowicz’s exhibition Macquettes… at Nigel Greenwood Inc, London, 10 December, 1981–30 January, 1982.

Early Summer The End of Summer Late Autumn is a monographic book presenting the cumulative result of a three-partite project by Daniel Gustav Cramer and Haris Epaminonda. The two artists collaborated on a triptych of exhibitions that had as its starting point a series of observations and interpretations on the work of Japanese filmmaker Yasujiro Ozu. Late Autumn (Samsa, Berlin, 2010), The End of Summer (dOCUMENTA (13), Kassel, 2012) and Early Summer (Kunsthalle Lissabon, Lisbon, 2012) were intended as a single, larger project in which Ozu’s way of composing image and time was addressed and explored by the artists in an ongoing narrative that intersects all three exhibitions. This monograph, co-published with Kunsthalle Lissabon, thus not only constitutes the afterlife of their project, but also and above all, its conclusion. The book has become the only place in which the visual narrative conceived by the artists is made visible; through the book, space and time are finally aligned, thereby allowing readers to gain a more comprehensive insight into the project’s scope, which up until this point had only ever been partially understandable, as an inevitable result of the segmented nature of each individual exhibition.