Artists, scholars, filmmakers, and writers revisit the films of Danièle Huillet and Jean-Marie Straub. Jean-Marie Straub (b. 1933) and Danièle Huillet (1936–2006) met in Paris in 1954. Straub wanted to make a film about Johann Sebastian Bach, to which Huillet thought: “He’s planning to do far too much; he won’t manage it alone.” It was the beginning of a fifty-year collaboration, which brought about one of the most unconventional and controversial bodies of work in modern cinema. Tell it to the Stones presents variations from a prolonged re-encounter with Huillet and Straub’s work that was sparked by a three-month exhibition, complete cinema retrospective, workshops, and music performances in Berlin in the fall of 2017.

Contributing artists, scholars, filmmakers, and writers have revisited this collective experience in new texts, revised transcripts, conceptual essays, and visual montages. What happens during an encounter happens in between: between language and image, gestures and words, looks and everything unsaid. “To help us build the in-between,” is how Huillet once imagined a task for those who come to see their films. The present compendium revives these encounters and reveals the urgencies of how Straub and Huillet’s oeuvre matters today, perhaps more than ever.

Invitation produced on the occasion of Kunst und Freundschaft, a two-person exhibition by Christian Philipp Müller and Ricardo Valentim at Galerie Lars Friedrich, Berlin, 30 April–12 June, 2021.

The friendship between Müller and Valentim began when they first met in 2008 at Manifesta 7 (Trentino-Alto Adige, Italy). Though Müller now lives in Berlin, and Valentim is currently in Lisbon, for many years both artists were based in New York, where they spent much time together visiting exhibitions and discussing their shared interests including art history, the culinary arts, travel, design, and typography. Though they had not previously considered doing a show together, Kunst und Freundschaft was triggered in part by this ongoing friendship. This exhibition not only situates their friendship and links between their practices, but it also comments on the social networks that define and support art production.

More information and documentation of the exhibition can be found here.

Produced on the occasion of Kunst und Freundschaft, a two-person exhibition by Christian Philipp Müller and Ricardo Valentim at Galerie Lars Friedrich, Berlin, 30 April–12 June, 2021.

The friendship between Müller and Valentim began when they first met in 2008 at Manifesta 7 (Trentino-Alto Adige, Italy). Though Müller now lives in Berlin, and Valentim is currently in Lisbon, for many years both artists were based in New York, where they spent much time together visiting exhibitions and discussing their shared interests including art history, the culinary arts, travel, design, and typography. Though they had not previously considered doing a show together, Kunst und Freundschaft was triggered in part by this ongoing friendship. This exhibition not only situates their friendship and links between their practices, but it also comments on the social networks that define and support art production.

More information and documentation of the exhibition can be found here.

Decolonizing Ethnographic Museums, Film Archives, and Public Space.

Everything Passes Except the Past takes an artistic and discursive approach to coming to grips with a colonial past that remains present in museums, public space, and image archives. The contributions in this book propose visionary theoretical, practical, and ethical foundations for future museums based on artistic and curatorial remediation of ethnographic collections. They also cover the role of colonial films in our collective and national memory, as well as the challenges and perspectives of tearing down or replacing monuments and renaming streets.

Contributions By Yaa Addæ Nantwi, Lotte Arndt, Andrés Antebi Arnó, Bianca Baldi, Daniel Blaufuks, Filipa César, Didi Cheeka, Clémentine Deliss, Karfa Diallo, Sally Fenaux Barleycorn, Alessandra Ferrini, Fradique, Pablo Gonzáles Morandi, Guido Gryseels, Jana J. Haeckel, Didier Houénoudé, Duane Jethro, Christian Kopp, Yann Legall, Alberto López Bargados, Eloy Martín Corrales, Grace Ndiritu, Inês Ponte, Linda Porn, Tamer El Said, Bénédicte Savoy, Stefanie Schulte Strathaus, Mnyaka Sururu Mboro

The misappropriated notion of care and the paths for its rehabilitation.

The Delusions of Care is a culmination of three long essays that ruminate on notions of care in our contemporary and historically. It is concerned with the appropriation of care by the capitalist establishment as much as supremacists of all kinds. What can we consider as care and who gives care for what reasons. Stuck in the cup de sac of a pandemic that has brought most of the world to its knees, these questions seem of some pertinence. The reflections in this book spanning a critique of care from the regimes of birth control through police brutality to the storming of the Reichstag in the summer of 2020, that very much set precedence to the storming of the Capitol Hill by Trumpists and White supremacists. The book does not only point out the pitfalls of a corrupted notion of care, but tries to offer paths for rehabilitation, restoration, restitution through a non-selfish spirit of care.

A book produced in conjunction with Bauer Verlag’s eponymous series of screenings at the Studio/Cinema in Brooklyn. Bauer Verlag was established in 2012 in Frankfurt as an artist collective to publish text-based books by artists and friends.

With contributions from Nicholas Vargelis, Kerstin Stakemeier, Steve Beck, Lis Rhodes, Leslie Bauer, Érik Bullot, C.Vanaik, VUE Committee, Shirley Clarke, Hilary Harris, Giuliana Bruno, Pier Paolo Pasolini, Peter Larsen, Elissa Suh, Jean-Marie Straub and Danièle Huillet, Storm de Hirsch, Mark Fisher, Bruce Baillie, Rachel Haidu, Kai Althoff, Jennifer Reeves, Karl Holmqvist, Eros in Le Wind, Marie Menken, Jonas Raam.