In 1949 Munari designed for the first time a series of “libri illeggibili” (illegible books), which abandoned textual communication in behalf of aesthetic function only. Paper is no longer the support of only text, but it also communicates a message through the format, the colour, the cuts and their successions. The elements that usually set up a book (like the colophon and the title-page) are removed, and the reading seems the execution of a melody, with always different tones during the sequence of the pages.

Exhibition booklet produced on the occasion of the exhibition Tetsumi Kudo: Retrospective, curated by  Susanne Pfeffer, Fridericianum, 25 September 2016–1 January, 2017.

Bottled humanism, coloured neon contaminations, tattered flaps of skin, and limp penises bring humanist self-assurance crashing to the ground. What appears as poison or chemical devastation is in fact an appeal to understand metamorphosis as a state of being. Over a period of three decades (from the mid-1950s to the late 1980s), Tetsumi Kudo created a consistent body of work that serves as a model for contemporary conceptual approaches. The Fridericianum presented the first comprehensive retrospective exhibition of the Japanese artist’s work in Germany. This pamphlet also serves as the gallery guide for Loretta Fahrenholz’s exhibition, Two A.M. Designed by Zak Group.

Produced on the occasion of the exhibition of Wiener Aktionisten from December 1976 through February 1977, De Appel presented photo’s, drawings, objects and films by the main exponents of Wiener Aktionisten. This particular document is the press realease for the reading and exhibition of Das Orgien Mysterien Theater by Hermann Nitsch on 5 January 1977.

You can find more on the show here.

Produced on the occasion of Rosemarie Trockel: Bilder, Skulpturen und Zeichnungen at the Rheinisches Landesmuseum, Bonn, 5 September–6 October, 1985.

The “economization of art” began to take shape in the wake of the crisis of capital in 2009. The shifts that occurred in the art field during this time were accompanied by explicit critique and academic analysis that aimed to make the genesis of these transformations comprehensible. In this book, first delivered as a lecture at Kunsthalle Bern in April 2016, Diedrich Diederichsen follows Marx’s labor theory of value and counters the symbolic economies dominating the art field, as well as economic exceptionalism or calculation, with systems of recording and reading out. Expanded to include the sphere of individual aesthetic experience, these systems are not formulated as solipsism, or in terms of purposefulness, but as a means to compare relations within the productivity of open and incalculable connectivity, relations that allow aesthetic experience to be read out as the liquefied labor and lifetime of concrete others. Designed by HIT.

Produced on the occasion of Sonsbeek, 27 May–25 September 1966, Arnhem. Curated by Wim Beeren. Featuring; Hans Arp, Max Bill, Anthony Caro, Lucio Fontana, Alberto Giacometti, Barbara Hepworth, Norbert Kricke, Isamu Noguchi, Eduardo Paolozzi amongst others. Designed by Wim Crouwel.