Exhibition guide produced to accompany Mutlu Çerkez: 1988–2065, an exhibition that surveyed the art and life of Mutlu Çerkez, the Turkish Cypriot Australian artist who lived and worked in Melbourne until his death in 2005 at MUMA (Monash University Art Museum), Melbourne.

Çerkez was an influential artist who, during his lifetime, had a significant impact on the Australian and international art worlds. His work incorporated traditions of conceptual art, minimalism and monochrome painting but made its own internal logic its primary reference point while strenuously resisting a reduction to any single style.

His practice explored its own temporality and sought to create a conversation between past actions and future scenarios. Each new work was ascribed a future date on which he intended to remake the work. Working in a range of mediums including printmaking, painting and sculptural installations, Çerkez employed abstract designs and aphoristic symbols to expound upon time and reality and build upon the conversation between past actions and future scenarios. In 2005, Çerkez passed away in his Melbourne home.

This publication accompanies the eponymous exhibition project by artist Jonas Staal that offers an overview of the artistic, cultural, and political work of Stephen K. Bannon, best known as campaign manager and advisor for US President Donald Trump. Less well known is Bannon’s work as a filmmaker. Between 2004 and 2016 he directed nine documentary films in a style he has termed “kinetic cinema”. Together they sketch a grim profile of a world on the brink of disaster, beset by economic crisis, secular hedonism, and Islamic fundamentalism. The book deconstructs the mechanisms of propaganda, showing how Trumpism was decades in the making through Bannon’s work.

This book, in the tradition of the famous Reclam book series, documents Christopher Williams’ contribution to the exhibition We Call It Ludwig. The Museum Is Turning 40!. With a text by Christopher Williams.

Christopher Williams precise photographs retain in a paradoxical way what is in the process of vanishing. His photographs, influenced by the advertising aesthetics of the 1960s or 70s tend to become as anachronistic as their motifs. Published as the second volume of the De Rijke / De Rooij catalogue on the occasion of their exhibition at the Vienna Secession, the two volumes are, however, independently conceptualized artist`s books.

Produced on the occasion of Yng­ve Ho­len Horses, 1 September–16 September 2018, Kunsthalle Düssseldorf.

The star­ting point of the se­ries Ro­se Pain­ting is the rims of fi­ve dif­fe­rent SUV mo­dels. Their iso­la­ted cores we­re 3D scan­ned, sca­led to a dia­me­ter of two me­ters, and mil­led in cross-la­mi­na­ted tim­ber. The shift in si­ze and chan­ge of ma­te­ri­als, from alu­mi­num to wood, makes the works re­call the wa­gon wheels of his­to­ri­cal hor­se-drawn car­ria­ges or sta­ge­coa­ches. In their de­li­be­ra­te non-func­tio­na­li­ty, they par­ti­cu­lar­ly em­pha­si­ze the or­na­men­tal qua­li­ty and point to an en­t­i­re spec­trum of con­cen­tri­cal­ly de­si­gned ele­ments, from the ro­se pain­ting style to the Go­t­hic ro­se win­dow.

To­ge­ther wi­th the Ja­pa­ne­se pho­to­gra­pher Sa­to­shi Fu­ji­wa­ra (*1984 in Ko­be, Ja­pan, li­ves and works in Ber­lin), Ho­len has pro­du­ced an ar­tist’s book for the ex­hi­bi­ti­on. In it, Ho­len and Fu­ji­wa­ra, who is known for his ex­tre­me clo­seups and sen­si­ti­vi­ty to struc­tu­res, com­bi­ne their in­te­rest in sur­faces and ap­pearan­ces.

Produced on the occasion of Sean Snyder: No Apocalypse, Not Now, at the Kölnischer Kunstverein, 9 November–22 December, 2013. With texts by Moritz Wesseler and Sven Lütticken.

Sean Snyder takes the global circulation of data as the raw materials for his practice. He experiments with multi-layered signs revealing unexpected layers in an intentionally non-pedagogical way. Refusing to conform to conventions, his practice avoids simple classification. In resistance to contemporary art’s tendency to aspire to a mechanized consumer society, his investigations parody and mirror their processes. More information here.