We started making machines together in 2010. These machines consisted of a sensor and device couplet, by which a sensor would trigger a device to perform a simple task. We experimented with sensor inputs like passing cars and tasks like heat guns blowing up trash bags, or later we would connect the machines to trains and have them push little cardboard cars back and forth. Still triggered by trains, the machines now move clock parts.

We disassemble mechanical clocks, take their parts and combine them with L-brackets, screws, washers, nuts, motors, felt, rubber bands, fishing line, and heat shrink tubing. The characteristics of the clock parts constrain and guide our activities. As we reinvent their function, the parts become less and less recognizable, their movements more and more estranged.

—Michèle Graf & Selina Grüter, 2023

Produced on the occasion of Josephine Pryde: How Frequency The Eye at Haus am Waldsee, Berlin, May 24–August 18, 2024.

In her practice, Josephine Pryde explores modes of creation, consumption, and production of images, most often through photography. Employing a wide range of technical means, she takes up ideas conveyed through camera-generated images, in order to challenge and re-examine established modes of reception and expectation as to how the visible may be rendered.

How Frequency The Eye continues Pryde’s recent reflections on perception, cognition, and language, and her questions as to how an exhibition of artworks may articulate such concerns. In conjunction with prior works and a short film, the exhibition features a new series of photographs in which the artist interrogates interplays between the eye and consciousness.

Produced on the occasion of the exhibition Photography and Fashion Since the 1990s at Tokyo Photographic Art Museum, 3 March–5 October, 2020, including photographers Anders Edström, Kyoji Takashi, Elein Fleiss, Yukinori Maeda, PUGMENT and Takashi Homma.

The 1990s saw the emergence of photographers who went beyond the conventional framework for communicating the appeal of fashion items to create images that appeal to people. Moreover, fashion magazines appeared that took an independent stance in transmitting information. Images created from new points of view influenced people’s thinking and lifestyles. Those images have been referred to repeatedly by subsequent generations.

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

Produced on the occasion of Daniel Spoerri’s exhibition at Sabine Wachters Fine Arts, Knokke, Brussel, Deurle, 8 September–15 November, 1991.

Daniel Spoerri is a Swiss artist and writer, best known for his “snare-pictures”, a type of assemblage or object art, in which he captures a group of objects, such as the remains of meals eaten by individuals, including the plates, silverware and glasses, all of which are fixed to the table or board, which is then displayed on a wall.

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

Impossible Dreams was Pati Hill’s last published novel, released in 1976 after it was partially published two years earlier in the Carolina Quarterly under the title “An Angry French Housewife.” Hill tells the story of Geneviève, a middle-aged woman whose life is turned upside down when she unexpectedly falls in love with her neighbour, Dolly. Mixing anecdotes with existential thoughts, the novel describes the gradual disruption of the heroine’s daily life. Almost every chapter (the length of which varies from a single sentence to no more than three pages) is accompanied by a xerograph of a photograph, selected by Hill with permission from its maker. The resulting combination of text and image constitutes her most ambitious attempt to produce a work in which “the two elements fuse to become something other than either.”

A facsimile copy of the article Xenophobia and Kantian Rationalism written by Adrian Piper that originally appeared in The Philosophical Forum, Volume XXIV, No. 1-3, Fall-Spring 1992-93. An online version can be found here.

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