Produced on the occasion of two exhibitions of Robert Kinmont’s work; Listen, Kunsthaus Glarus, 10 February–5 May, 2013 & Measure, Kunstlerhaus Bremen, 8 June–1 September, 2013.

Although the Californian conceptual artist Robert Kinmont’s work dates back to the late 1960s and the beginning of 1970s, this is the first monograph of his work. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard’s book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Not so long afterwards, Kinmont retreated from art practice for the following three decades.

Three years in the making, ‘Projekt Migration’ was a large-scale exhibition held in various traditional and nontraditional sites around the city of Cologne, with the Kölnischer Kunstverein serving as the primary host venue. Organized by a team including Kathrin Rhomberg, director of the Kölnischer Kunstverein, and Zurich-based curator and filmmaker Marion von Osten, ‘Projekt Migration’ investigated the history of postwar migration to western Europe in relation to current debates that place immigrants at the center of political contestation. Part socio-historical anthology and part contemporary art exhibition, the project was one element of an — initiative by the Kulturstiftung des Bundes (Federal Cultural Foundation) that also included screenings, a symposium, performances, workshops, discussions, music.

Featuring artists such as; Vlassis Caniaris, Gustav Deutsch, Lukas Duwenhögger, Gülsün Karamustafa, Christian Philipp Müller, Henrik Olesen, Mladen Stilinović, Rosemarie Trockel.

Booklet produced for the exhibition Textiles: Open Letter, at the Städtisches Museum Abteiberg, Mönchengladbach, 22 June–10 November, 2013.

Including the following artists; Magdalena Abakanowicz, Anni Albers, Carl Andre, Leonor Antunes, Tonico Lemos Auad, Thomas Bayrle, Jagoda Buic, Heinrich Clasing, Yael Davids, Sofie Dawo, Ria van Eyk, Hans Finsler, Elsi Giauque, Sheela Gowda, Eva Hesse, Sheila Hicks, Loes van der Horst, Johannes Itten, Elisabeth Kadow, Paul Klee, Benita Koch-Otte, Heinrich Koch, Beryl Korot, Konrad Lueg, Agnes Martin, Katrin Mayer, Cildo Meireles, Kitty van der Mijll Dekker, Nasreen Mohamedi, Walter Peterhans, Edith Post-Eberhardt, Josephine Pryde, Florian Pumhösl, Grete Reichardt, Elaine Reichek, Willem de Rooij, Desirée Scholten, Johannes Schweiger, Gunta Stölzl, Lenore Tawney, Rosemarie Trockel, Vincent Vulsma.

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.

Jochen Lempert photographs the animal world in the most diverse contexts: from their natural habitat to the museum of natural history, from the zoo to the urban environment, in remote places or banal settings and situations. Lempert compiles his findings in a vast archive of images covering an ample spectrum, from common everyday views, to compositions that tend towards abstraction. This interest in the natural world as a subject has been further complemented by his exploration of the properties and materiality of the photographic image. Analogue, black and white, hand-printed in the darkroom, his photographs resist categorization and confront the canons of today’s aesthetic.

In his presentations, Lempert uses groupings and scale to respond to the exhibition space. He places and selects the photographs thoughtfully, always looking for cross-references and associations, uncovering subtle correspondences. Lempert’s arrangements give us new insights into our own place within the patterns, the structures and even the randomness or the order of the natural world.

This book is both a record and a theoretical expansion of the exhibition “All Men Become Sisters” at the Muzeum Sztuki in Łódź. Dedicated to the manifestation of sisterhood in art from the 1970s until today, the exhibition and the publication focus on art that resonated with feminist perspectives on work, production, and reproduction. “Sisterhood” is a key concept and an impulse to work with imagination; built on the foundations of second-wave criticism of the patriarchal exploitation of women, it poses questions about the future from the perspective of feminist economics and ethics of care. The exhibition included the following artists: Berwick Street Film Collective, Pauline Boudry/Renate Lorenz, Sarah Browne, Agnieszka Brzeżańska, Jan Czapliński, Ines Doujak in cooperation with John Barker, Köken Ergun, Hackney Flashers, Krystyna Gryczełowska, Margaret Harrison, Elżbieta Jabłońska, Birgit Jürgenssen, Irena Kamieńska, Ola Kozioł/Suavas Levy, Nalini Malani, Marge Monko, Şükran Moral, Teresa Murak, Letícia Parente, Agnieszka Piksa, Marcin Polak, Aleksandra Polisiewicz, Raqs Media Collective, R.E.P., Alicja Rogalska, Daniel Rumiancew, Jadwiga Sawicka, Allan Sekula, Jo Spence, Rosemarie Trockel, Agnès Varda, Mona Vǎtǎmanu/Florin Tudor, Zorka Wollny Copublished with Muzeum Sztuki, Łódź. Designed by Monika Zawadzki, Olo Jean-Claude Zawadzki