Invitation card produced on the occasion of the exhibition Jef Geys at Kunsthalle Bern, 29 May–25 July, 2021.

Produced on the occasion of the exhibition Balkon at the Kulturreferats der Landeshauptstadt München, 15 May–16 June, 1987, curated by Michaela Melián and featuring the artists; Johanna Heß, Ika Huber, Johanna Kandl, Jutta Koether, Michaela Melián, Bettina Semmer, Rosemarie Trockel. With an introduction by Gislind Nabakowski.

Produced on the occasion of Jutta Koether’s exhibition Fantasia Colonia at the Kölnischer Kunsteverin, Köln 26 May–13 August, 2006 and Kunsthalle Bern, 19 January–11 March, 2007.

Texts by Diedrich Diederichsen, Isabelle Graw, Martin Prinzhorn, Michael Kerkmann and a conversation with Jutta Koether, Sam Lewitt and Eileen Quinlan.

Bob Nickas’ review of the Kölnischer Kunsteverin exhibition can be found here.

Produced on the occasion of the German artist, musician and critic, Jutta Koether’s exhibition Massen at the Generali Foundation, Vienna, 6 November–20 December, 1991. Curated by Sabine Breitwieser. With texts by Michaela Eichwald and a conversation between Jutta Koether and Diedrich Diederichsen.

The first overview of the variety and scope of the research carried out by Renée Green over the past twenty years. Green’s work is located both within the legacy of the most ambitious achievements of Conceptual and post-Minimal art, and within a post-colonial critique of culture. It often takes the form of complex, multi-layered archive-like installations that employ a vast array of sources, and point to a variety of issues, always involving the spectator as active participant through multiple points of access.

Texts by Nora Alter, Diedrich Diedrichsen, Renée Green, Kobena Mercer, Catherine Quéloz, Juliane Rebentisch, Gloria Sutton, Elvan Zabunyan.

First Edition of Yayoi Kusama’s first novel, published in Japan in 1978 and never translated into English, is best described as a faux autobiography, describing Kusama’s years in New York in the 50s and 60s. Having left behind a strict family life in post-war Japan, Kusama entered a period of heightened creativity. She was free to make what she wanted, but plagued by fears of intimacy and inadequacy. Her art became a form of therapy, and she went on to create a unique body of work that not only parallels and transcends Pop art, Minimal art and Happenings of the ’60s, but remains influential today.

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