Produced on the occasion of the first extensive UK exhibition of the highly influential New York based video and performance artist, Joan Jonas, a collaboration between two venues: John Hansard Gallery, Southampton, and Wilkinson Gallery, London, during 2004–2005.

Works included range from early films and performance documentation to two new major installation works. This publication contains extensive texts which examine her work both past and present, and contextualise it within a broader cultural framework.

Etel Adnan is a Lebanese-American poet, visual artist, and essayist. Her rich body of work documents an unblinking witness to beauty in nature, human beings and art; to cruelty, especially as enacted in the mindless violence of war; and to the power of love and human perseverance. In Premonition the voice is wise and paradoxical, opening with the observation, “There’s always a conductive thread through space for untenable positions.” Sentences are set apart in aphoristic cuts never wholly separate from this “conductive thread,” and always shaped by the gem-like compressions of poetry. Premonition is a short book that refuses finality in a world of contingencies and human unpredictability.

For almost fifty years, Senga Nengudi (b. 1943, USA) has shaped an œuvre that inhabits a specific and unique place between sculpture, dance and performance. The publication accompanies the first solo exhibition of Nengudi in Germany at the Städtische Galerie im Lenbachhaus, Munich. Among the bodies of work presented in the book are the Water Compositions (1969–70), interactive vinyl and water sculptures that Nengudi understood as an organic rebuttal to the reign of Minimalism; early fabric works that Nengudi strung up in the back alleys of Harlem, New York and the suggestive R.S.V.P. sculptures - performative objects made from pantyhose and materials such as sand and stone – (1976–today). With newly commissioned essays by Kellie Jones, Catherine Wood, and Malik Gaines.

Produced on the occasion of Mladen Stilinović’s exhibition Bijela odsutnost 1991–1996 at Galerija Josip Račić, Zagreb.

Mladen Stilinović was an artist who frequently employed everyday materials in his work, bringing into focus the interconnection of politics, language, artistic production, and daily life. From 1975–79 he was a member of Zagreb’s Group of Six Artists. His work included drawings, collages, photographs, artist books, paintings, installations, actions, films, and video.

Produced on the occasion of Mladen Stilinović’s exhibition Geometrija vremena—Kolaži 1993-1977 (Geometry of Time: Collages 1993–1977) at Centar z akulturu i obrazovanje, Zagreb, 1993.

Mladen Stilinović frequently employed everyday materials in his work, bringing into focus the interconnection of politics, language, artistic production, and daily life. From 1975–79 he was a member of Zagreb’s Group of Six Artists. His work included drawings, collages, photographs, artist books, paintings, installations, actions, films, and video.

Intermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence.

Despite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily available material in a language other that Japanese has meant the local context, particularly the ways in which the terms were critically debated, was relatively neglected.

Rather than assuming the interpretations of the terms were the same as their counterparts abroad, translations of a selection of key texts that were instrumental in shaping the specific discourse around these terms have been commissioned.