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 the exhibition Ewa Partum: Retrospektive 1965-2000 at Badischer Kunstverein, Karlsruhe, 17 February–16 April, 2021.

In the 1960s and 70s, Ewa Partum was part of the artistic avant-garde in Poland. She sought a new reality in art, considered the possibilities of thought within painting to be exhausted, and championed the new art forms of the time. Starting with the language and concepts that shape our ideas about art as well as our notions of work and practice, Partum focused on semantic material as the “raw material” of art and its visualization. With actions in public space, an understanding of art that referred to active processes in time, and a self-reflexive concept of media, Ewa Partum belonged to the first generation of conceptual artists.

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

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

Jef Geys voor beginners reproduces all the seed sacks that Geys has painted every year since 1963. They are, without any explanation, depicted chronologically and in the form of black-and-white line drawings on the recto side. There is an empty frame on the verso, where the owner of the book can notionally stick a coloured reproduction of the painting in question (This copy comes without the original colour inserts).

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

Produced on the occasion of Kazuna Taguchi’s exhibition I’ll never ask you at MUMOK, Wien, 13 June–16 November 16, 2025.

Taguchi’s meticulously composed monochrome photographs convey body fragments, gestures, and gazes that resonate with the surrealist tradition concerning the questioning of the photographic representation of the female body. This can be moments of the phantomic or Yūgen*-like, images that capture a figure in a state between appearance and disappearance.

*According to the Japanese poet Kamo no Chomei (1155—1216), yūgen is a feeling that is not openly expressed in words, but symbolically indicated by images.

Designed by HIT.

Ellen Cantor (1961–2013) combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. This book is concerned with, and a document of, Cantor’s work through the lens of Pinochet Porn (2008–16) and its making—an epic experimental film embodying and radically extending her multifaceted artistic practice.

A history of the world as it has become known to me brings together writings and archival materials of Cantor’s, including a reproduction in full of her drawing-based script Circus Lives from Hell (2004), alongside contributions by writers, artists, collaborators, and friends reflecting on Cantor’s practice, Pinochet Porn, and a singularly transgressive vision.

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