Presents the original installation Celebration? Realife by Chaimowicz at Gallery House, London, 1972, as well as the recent re-installations at the Cabinet Gallery, London; the Migros Museum, Zurich and the FRAC Bourgogne, Dijon.

Texts by Alison Bracker, Matthew Higgs.

Produced on the occasion of the exhibition at Le Centre D’art Contemporain, Cluny 5 July–28 September, 2003. With texts by Vincent Pécoil and Xavier Douroux.

Produced on the occasion of the exhibition An Autumn Lexicon at the Serpentine Gallery London, 29 September–20 November, 2016.

Since the early 1970s, Marc Camille Chaimowicz has defied straightforward categorisation, creating large-scale installations that combine everything from found objects, painting, performance and sculpture to lighting and ceramics. Visually rich and precisely observed, the objects and images he designs, makes, and gathers from elsewhere propose connections, set up oppositions, and trace narratives in a dense play of puzzle, metaphor, and interpretative possibility. This approach extends seamlessly to the printed material associated with his practice, which range from books, invitation cards, posters, prints, clothing and wine labels.

John Latham (1921–2006) was a pioneer of British conceptual art, who, through painting, sculpture, performances, assemblages, films, installation and extensive writings, fuelled controversy and continues to inspire. A visionary in mapping systems of knowledge, whether scientific or religious, he developed his own philosophy of time, known as ‘Event Structure.’

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

Daan van Golden Photo Book(s) reproduces the photo pages of Van Golden’s earlier books (most of which have long been out of print), as well as two little known photo essays, in their entirety.

The reproduction of preexisting material, the insistent adherence to a set of core elements, gestures and images, the conviction that creating different juxtapositions and interactions between those same elements yields new readings and meaning: these are the hallmark of van Golden’s work, and here for the first time they serve as the organising principle for a book, one whose patient rhythm creates the space for the logic of a practice to establish its sensible presence.