Marc Camille Chaimowicz subtly intervenes in the gallery space, altering the atmosphere and décor of the environment. This catalogue, devised in collaboration with the graphic designer Adeline Morlon, reflects his working method, developing quiet, multi-perspective views of a spatial installation. Chaimowicz’s environments embrace the domestic sphere, incorporating interior design, ceramics, wallpaper and textiles. The exhibition at Kunstverein für die Rheinlande und Westfalen documented in this book shows works spanning the years 1975 to 2005 and includes objects, drawings, photo collages and paintings.

‘Spaces and their potentialities of allowing ideas to come into being forms the central pillar of interest for the artist Marc Camille Chaimowicz… for the first time ever in a German institution, he has realized his ideas in a richly faceted manner and shown his work to an interested and curious audience.’—Rita Kersting

Published on the occasion of Marc Camille Chaimowicz, Peinture et objets at Le Consortium, Dijon, 10 September–15 October, 1994. Texts by Stuart Morgan, Xavier Douroux, Jean Rosen.

Born in 1947, Paris, Marc Camille Chaimowicz lives and works in London. Chaimowicz’s continuous negotiation of two cultures and languages quietly reverberates throughout his pluralistic practice. He embraces both the fine and applied arts and challenges the categorical divisions between masculine and feminine, public and private, past and present.

Published on the occasion of Marc Camille Chaimowicz’s exhibition Macquettes… at Nigel Greenwood Inc, London, 10 December, 1981–30 January, 1982.

Early Summer The End of Summer Late Autumn is a monographic book presenting the cumulative result of a three-partite project by Daniel Gustav Cramer and Haris Epaminonda. The two artists collaborated on a triptych of exhibitions that had as its starting point a series of observations and interpretations on the work of Japanese filmmaker Yasujiro Ozu. Late Autumn (Samsa, Berlin, 2010), The End of Summer (dOCUMENTA (13), Kassel, 2012) and Early Summer (Kunsthalle Lissabon, Lisbon, 2012) were intended as a single, larger project in which Ozu’s way of composing image and time was addressed and explored by the artists in an ongoing narrative that intersects all three exhibitions. This monograph, co-published with Kunsthalle Lissabon, thus not only constitutes the afterlife of their project, but also and above all, its conclusion. The book has become the only place in which the visual narrative conceived by the artists is made visible; through the book, space and time are finally aligned, thereby allowing readers to gain a more comprehensive insight into the project’s scope, which up until this point had only ever been partially understandable, as an inevitable result of the segmented nature of each individual exhibition.

Publication reproducing Michael Krebber’s work on paper from 1986–1991 (as seen in Galerie Buchholz’s 2018 exhibition Works on Works on Paper.) Published by Gallery Bleich-Rossi, Graz. Designed by Jörg Schlick.

Mierle Laderman Ukeles’s Manifesto for Maintenance Art 1969! Proposal for an Exhibition “CARE” (1969) was a major intervention in feminist performance practices and public art. The proposal argued for an intimate relationship between creative production in the public sphere and domestic labor—a relationship whose intricacies Ukeles has been unraveling ever since. In 1977, she became the unsalaried Artist-in-Residence for the New York City Department of Sanitation, a position that enables her to introduce radical public art into an urban municipal infrastructure.

Through archival research, this monographic publication focuses on Ukeles’s work ballets—a series of seven grand-scale collaborative performances involving workers, trucks, barges, and hundreds of tons of recyclables and steel—which took place between 1983 and 2012 in New York, Pittsburgh, Givors, Rotterdam, and Tokamachi. Over the past four decades, Ukeles has pioneered how we perceive and ultimately engage in maintenance activities. The work ballets derive from her engagement in civic operations in order to reveal how they work though monumental coordination and cooperation. Mierle Laderman Ukeles: Seven Work Ballets is the first monograph on Ukeles’s seminal practice, and is as much an artist’s book as an art-historical publication.

Edited by Kari Conte. Contributions by Kari Conte, Krist Gruijthuijsen, Mierle Laderman Ukeles; conversation with Tom Finkelpearl, Shannon Jackson, and Mierle Laderman Ukeles. Designed by Marc Hollenstein.