Phillip King (born 1 May 1934) is a British sculptor, one of Anthony Caro’s best known students, their education followed similar trajectories and they both worked as assistants to Henry Moore. Following the New Generation show at the Whitechapel Gallery, both Caro and King were included in the seminal 1966 exhibit, Primary Structures at the Jewish Museum in New York.

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

Accompanying a series of solo collaborations in 2020, this publication offers the first comprehensive and global perspective on Jeremiah Day’s work as an artist, performer, researcher and teacher. As it details Day’s specific works and evolution between visual and performing arts and between political reflection and engagement the result also serves as sourcebook for the legacy of the intersection between dance and the visual arts of the 1960s and 70’s and the models of cultural practice emerging from the work of Hannah Arendt.

Texts by Alain Cueff, Fred Dewey, Jan Verwoert, Angelika Stepkien, Julia Robinson. Designed by Will Holder.

“The works of Joëlle Tuerlinckx can be typified as experiments in which destructive and constructive impulses simultaneously redeem each other. That which is destroyed—or gives that impression to be—is readily rearranged. Some of Tuerlinckx’ work is suggestive of images that fell to pieces. And yet, even those are not ruins, unrestrainedly delivered to the hands of time. In this ample volume the artist endeavours to put forward an inventory of her film and video work up to the present day, ’un travail d’archivage en cours’. Soon this book abandons its attempt at drawing up an inventory in favour of an autonomous rearrangement, a rereading of a myriad of videos, films and film fragments, installations and contexts. A very impressive document.”—Argos

This publication is the record of the improvised collaboration between Jeremiah Day and Simone Forti. Day’s work spans photography, installation and storytelling, and employs intensive research to establish connections between himself and places of public significance; while Forti is an artist with links to the origins of postmodern dance in New York in the early 1960s, and whose practice has more recently involved poetic writing. Day studied improvisation with Forti in Los Angeles, and in 2007 the two collaborated on an exhibition at Project Arts Centre, Dublin. With essays by Fred Dewey, Tessa Giblin and Simone Forti.

This artist’s book designed by Belgian artist Olivier Foulon is the result of a years-long research into Isa Genzken’s abandoned sculpture project Ring, a public sculpture originally planned for the exhibition Beelden in de Stad/Sculpture in the City as part of Rotterdam ’88 from 13 May–1 October 1988, whose various prefabricated parts allegedly still lie dormant in the port of Rotterdam. It features two essays on Isa Genzken by Jan van Adrichem, a section gathering archival documents, and a comprehensive press kit referring to the aborted project.

French artist Joëlle de la Casinière, Portuguese artist Ana Jotta and Flemish artist Anne Mie Van Kerckhoven have in common to pay no fealty to trends of contemporary art. Moreover, they fought unwaveringly throughout their respective careers the need to see their work being given an “official line”. Instead, they stood aside, went underground or remained indifferent to the twists and turns of the art market and institutions. They sometimes created surrogate characters, hid, or playfully modified their names to react to the branding of identity in the artworld, and to the imposed marginalization that they had to cope with as women artists, as did artists living in peripheral geographies. In a way, paradoxically, being marginalized encouraged a calculated versatility of media and styles, and the invention of an idiosyncratic vocabulary, while total freedom remained their one and only rule.

Published on the occasion of the eponymous exhibition at Malmö Konsthall in 2019. More information on the exhibition can be found here.