Part of a large cycle comprised of different series of polyptychs with the subject matter of marble graves without any reference to dates, places or names, Sophie Calle encourages a reflection on those relationships that, in their presence or absence, define each person’s identity. Even though anonymous, each tomb in the series contains a real body that was once a person and remains alive as a memory and as a site allowing the opportunity to worship that memory by the survivors.

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

Re-Materialization of Language. 1978–2022 represents the first attempt at a philological reconstruction of the seminal exhibition Materializzazione del linguaggio, while simultaneously re-activating and re-contextualizing its historical themes in the present.

Long overlooked, the 1978 exhibition, curated by Mirella Bentivoglio and dedicated to the verbo-visual explorations of eighty international women artists across diverse materials and practices, both individual and collective, marked a belated reintegration of women’s and feminist art practices within an edition of the Biennale di Venezia that was not yet fully aware of their significance.

Featuring Annalisa Alloatti, Mirella Bentivoglio, Cathy Berberian, Tomaso Binga, Irma Blank, Monica Bonvicini, Irma Boom, BRACHA (Bracha L. Ettinger), Blanca Calparsoro, Françoise Canal, Matilde Cassani, Paula Claire, Rochella Cooper, Betty Danon, Sonia Delaunay, Agnes Denes, Chiara Diamantini, Neide Dias de Sá, Lia Drei, Janie Van Den Driessche, Anna Esposito, Amelia Etlinger, Sylvie Fauconnier, Maria Ferrero Gussago, Mona Fillières, Gisela Frankenberg, Luisa Gardini, Ilse Garnier, Rimma Gerlovina, Natalia Goncharova, Pat Grimshaw, Bohumila Grögerová, Shasha Guiga, Elisabetta Gut, Micheline Hachette, Ana Hatherly, Annalies Klophaus, Janina Kraupe, Christina Kubisch, Ketty La Rocca, Katalin Ladik, Maria Lai, Liliana Landi, Sveva Lanza, Paola Levi Montalcini, Laura Marcheschi, Lucia Marcucci, Benedetta Marinetti, Silvia Mejía, Gisella Meo, Aurèlia Muñoz, Giulia Niccolai, Anna Oberto, Anésia Pacheco e Chaves, Anna Paci, Anna Paparatti, Jacqueline Phanelleux, Jennifer Pike, Marguerite Pinney, Betty Radin, Regina (Cassolo Bracchi), Ol’ga Rozanova, Giovanna Sandri, Anne Sauser-Hall, Evelina Schatz, Mira Schendel, Greta Schödl, Eleanor Schott, Berty Skuber, Mary Ellen Solt, Marlise Staehelin, Varvara Fyodorovna Stepanova, Wendy Stone, Chima Sunada, Jacqueline Tarkieltaub, Salette Tavares, Biljana Tomić, Jean Trevor, Nora Turato, Carla Vasio, Tatiana Vladimirova Vechorka, Patrizia Vicinelli, Florence Villers, Simona Weller, Francine Widmer.

Dedobbeleer is known for his sculptures and installations in which everyday objects (such as lamp, key holder, door knob, or plant pot) are modified, assembled, and recontextualized with a distinctive tongue-in-cheek—and at times even burlesque—spirit. Adorned with absurd (randomly chosen) titles, his works can be seen as joyful collisions of language and matter. Yet, this approach is not merely an act of formal entertainment. Nourished by an in-depth knowledge of art history and (seemingly) inexhaustible technical resources, the artist’s work establishes an ongoing dialogue with a broader tradition of sculpture, including its relation to architecture, industrial design, DIY culture, images, and book making.

Inklusive is a play written by Bavarian playwright Franz Xaver Kroetz.

It is part of a trilogy of radio plays from 1971 titled Trilogie Münchener Lebens. The play was first broadcast as a radio play in former West Germany on Südwestfunk in 1972. A second version was broadcast in former East Germany on Rundfunk der DDR in 1974. The West and East German broadcasts are the basis for two radio play adaptations by artist Christopher Williams. Both adaptations are recorded in German using the same technology used to produce the original broadcasts of 1972 and 1974.

Emerging from the 1990s New York fashion scene, Susan Cianciolo garnered a cult like following for her label RUN. Since exiting the fashion world in the early 2000s, Cianciolo has become renowned for making art that delves into memory and the spiritual. Fusing the language of textiles, painting, drawing and craft with the natural world she simultaneously conjures both the humble and the huge.

In this artist book, Cianciolo documents her love of trees and the land around Lovewell Lake and other lush areas that are particularly close to her and her family.

Barbara Kruger is an American conceptual artist and collagist associated with the Pictures Generation. She is recognized for her iconic collaged black-and-white photographs, overlaid with declarative captions. These phrases paired with such pronouns as “you,” “your, “I,” “we,” and “they,” address cultural constructions of power, identity, consumerism, and sexuality. Kruger utilizies mass communication and advertising techniques to explore these issues and is aligned with with such feminist post modern artists as Jenny Holzer and Sherrie Levine who implement similar techniques.

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