With the modular work documentation Folder, Annaïk Lou Pitteloud presents for the most  comprehensive publication on her artistic work to date. It is is preceded by the two sub-publications Mappe and Dossier. As catalogues for the solo exhibitions at the Kunstmuseum St. Gallen and the Musée cantonal des Beaux-Arts in Lausanne, they contain different compilations of the artist’s works that are related to the respective exhibitions and thus illustrate the basic idea of the present modular documentation of works. Files on all the artist’s works are created according to a strict grid. Separated by type of content, titles, descriptions of works, notes, documentary images and texts are compiled. Reproductions of drawings and reprints of printed matter used in the exhibitions complete the collection.

With texts from Maziar Afrassiabi, Bethan Huws, Nicole Schweizer, Madeleine Amsler, Hans Rudolf Reust, Steve Van den Bosch, Barnaby Drabble, Marie-Eve Knoerle, Federica Martini, Nadia Veronese, Pavel Büchler.

Produced on the occasion of the artist’s exhibition at the Musée cantonal des Beaux-Arts in Lausanne.

The two publications Mappe and Dossier represent two different monographic compilations of works by the artist Annaïk Lou Pitteloud and appear as catalogues to the solo exhibitions at the Kunstmuseum St. Gallen and the Musée cantonal des Beaux-Arts in Lausanne. The concept for the two publications was developed with these exhibitions in mind, but will be continued in the third, comprehensive edition Folder. The basic idea of all three publications is that of a modular documentation of works. Dossiers on all of the artist’s works are created according to a strict grid. Separated by type of content, titles, descriptions of works, notes, documentary images and texts are compiled. Reproductions of drawings and reprints of printed matter used in the exhibitions complete the collection.

Produced on the occasion of the artist’s exhibition at the Kunstmuseum St. Gallen.

The two publications Mappe and Dossier represent two different monographic compilations of works by the artist Annaïk Lou Pitteloud and appear as catalogues to the solo exhibitions at the Kunstmuseum St. Gallen and the Musée cantonal des Beaux-Arts in Lausanne. The concept for the two publications was developed with these exhibitions in mind, but will be continued in the third, comprehensive edition Folder. The basic idea of all three publications is that of a modular documentation of works. Dossiers on all of the artist’s works are created according to a strict grid. Separated by type of content, titles, descriptions of works, notes, documentary images and texts are compiled. Reproductions of drawings and reprints of printed matter used in the exhibitions complete the collection.

Produced on the occasion of Herman Scholten’s exhibition at the Stedelijk Museum, Amsterdam, 30 November, 1974–28 January, 1975.

SM Cat. No 570.

Designed by Wim Crouwel.

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

“Betye Saar’s work occupies a pivotal position in American art. Her assemblages from the 1960s and early 1970s interweave issues of race, politics, and supernatural belief systems with her personal history. Having grown up in a racially segregated society, Saar has long held that art can transcend our darkest moments and deepest fears. Today, the emergence of a new generation of artists mining her poignant legacy attests to how profoundly Saar has changed the course of American art. The 2020 Wolfgang Hahn Prize not only acknowledges her extraordinary achievements and influence, but also recognizes the need to revisit how the history of art in recent decades has been written.”—Christophe Cherix, Guest juror of the Wolfgang-Hahn-Preis 2020

For almost thirty years, Wolfgang Tillmans has been creating new pictorial worlds of abstract photography with his Silver works, which sound out and compellingly expand the boundaries and representability of photographic processes. Brought together for the first time in one opulent artist’s book, Tillmans describes the pictures as ‘stained, impure, bright, unstable, exhausted, fugitive, smear, shimmer, as solid colours’. In addition to the pictures, Tillmans also shows images of the Silver works in exhibition settings: as elements of installations, for example at K21 in Düsseldorf in 2013 or as pure Silver installations like those at Tate Britain in 2003, the Venice Biennial in 2009 or, most recently in 2020, at WIELS in Brussels.