Produced on the occasion of Jochen Lempert’s exhibition Natural sources at Huis Marseille, Amsterdam, 10 September–4 December, 2022.

Video peepshows, porno theatres, garden pavilions—with subtle insight, Tom Burr (*1963) sheds light upon what is marginalized, or not immediately recognizable. His works, which make reference to Minimal art’s object sculptures, redefine them in current socio-economic “queer” aspects. By acting as an intermediary between formal stringency and socio-political content, Tom Burr’s works overcome Hal Foster’s criticism that Minimal art tended to “handle the viewer as historically innocent and sexually indifferent.” With comprehensive texts and illustrations, this book features an artist who belongs among those who have shaped a new form of institutionally critical art.

With texts from Tom Burr, Carina Herring and Juliane Rebentisch.

Since the late 1980s, Tom Burr has been reusing appropriation strategies in his art. Not confined to his photographic and sculptural works, they also lend momentum to many of his writings. The artist has created assemblages of personal writings and sources, differing in nature and style, which he has used as both conceptual and aesthetic materials in his oeuvre. Thus, Burr extends his art praxis into the field of writing, and vice versa; art and language cannot be dissociated from each other. At times, the text precedes and anticipates the work; at others, it emanates and results from it; in most instances, it is an integral part of it. Words constitute the work.

Produced on the occasion of Boezem: Behangprojekt 1969/1976 at Haags Gemeentemuseum, Den Haag, 4 December, 1976–16 January, 1977.

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

Produced on the occasion of Performance into Politics by Yvonne Rainer at the Barbican Centre, London, 10 June–15 July, 1998.

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

Citational Choices takes La Trobe University’s Etta Hirsh Ceramics Collection as its point of departure. The exhibition combines ceramics with archival material, moving image, sculpture and exhibition design. Together, these elements unravel the biographical stories present within the collection itself—those of Etta Hirsh, of a local art scene, of La Trobe Art Institute, and now, in the case of this exhibition, everyone newly involved. Through contemporary works which engage with personal and material archives, the exhibition pays particular attention to the stories – the anecdotal and the informal ones—that don’t often make it onto the record. Artists include Anna Daučíková, Luke Fowler, Gail Hastings, Rita Keegan and the Rita Keegan Archive Project. Exhibition design in collaboration with Maud Vervenne. Curated by Isabelle Sully.