Soon after completing her studies in Hamburg and embarking upon a two-year sojourn in New York, Darboven created “sketch sheets” on graph paper – early drafts of what would later form a system she would “write herself into” over the course of the ensuing years. In the letters written to her family during this time she goes yet a step farther. More firmly anchored in her own private sphere, they serve as a “lifeline” in her quest for objectivity in her existence through the medium of words and messages: encounters, questions regarding her own identity, her art and her efforts to come to terms with the self reflected in it. These letters from New York, which form both the core and the point of departure for important aspects of Hanne Darboven’s oeuvre, are reproduced in facsimile and in their entirety in this publication.

Numbered and signed with the artist’s initials.

The Halifax Conference presents a transcript of a conference held at the Nova Scotia College of Art and Design on October 5–6, 1970, transcribed and adapted by artist Craig Leonard.

Organized by Seth Siegelaub, the Conference was conceived as a means of bringing about a “meeting of artists…[from] diverse art making experiences and art positions…in as general a situation as possible.” Infamously, the conference was held in the college’s boardroom, while students and other interested parties watched the proceedings on a video monitor in a separate space. The result was a conversation that devolved—technologically and ideologically—into a quasi-tragicomic farce, punctuated by remarkable moments of rupture initiated by activist resistance to the Conference from the outside and dissenting voices from within.

Attendees at the conference included Carl Andre, Joseph Beuys, Ronald Bladen, Daniel Buren, Gene Davis, Jan Dibbets, Al Held, Mario Merz, Robert Morris, Robert Murray, N.E.Thing Co. (Iain and Ingrid Baxter), Richard Serra, Richard Smith, Robert Smithson, Michael Snow, and Lawrence Weiner.

Wolfgang Stoerchle is a particularly notable artistic figure of the early seventies who left a certain but little advertised mark on a generation of Californian artists, especially through videotapes and performances involving his body as raw material. His short but eventful life is surrounded by rumours, and his abrupt death in 1976 may have emphasised the myth around him even more. His entire body of work was produced in eleven years, between 1965 and 1976. Forty-five years after he passed away, his name still drifts across the West Coast art world, awaiting wider recognition. This is the first monograph on Stoerchle’s work and includes interviews with Daniel Lentz, Paul McCarthy, Matt Mullican, David Salle, Helene Winer, and an unpublished review by James Welling, alongside ephemera and documentation of Stoerchle’s video works and performances, as well as rarely seen sculptures, installations, and paintings.

Edited by Alice Dusapin, with Justin Jaeckle and designed by Coline Sunier & Charles Mazé.

Produced on the occasion of Gorgona: Please Attend at Zak Branicka, Berlin, 18 January–2 March, 2013. The Gorgona group (named after the mythological creature Gorgon), was a Croatian avant-garde art group which consisted of artists and art historians. The group, made up of Dimitrije Bašičević-Mangelos, Miljenko Horvat, Marijan Jevšovar, Julije Knifer, Ivan Kožarić, Matko Meštrović, Radoslav Putar, Đuro Seder, Josip Vaništa operated in Zagreb between 1959 and 1966.

Cards produced on the occasion of Füsun Onur: Once upon a time…, a new installation conceived for the Pavilion of Turkey at the 59th International Art Exhibition of La Biennale di Venezia, curated by Bige Örer, exemplifies not just the artist’s recent work, but the narrative and autobiographical elements that have characterized her art for more than half a century. A companion to the exhibition, this book is the most comprehensive monograph ever published on the artist. It details almost all of her works, and includes twenty-six new essay by leading figures in the international art world, as well as archival fragments and interviews.

Produced on the occasion of Füsun Onur: Once upon a time…, a new installation conceived for the Pavilion of Turkey at the 59th International Art Exhibition of La Biennale di Venezia, curated by Bige Örer, exemplifies not just the artist’s recent work, but the narrative and autobiographical elements that have characterized her art for more than half a century. A companion to the exhibition, this book is the most comprehensive monograph ever published on the artist. It details almost all of her works, and includes twenty-six new essay by leading figures in the international art world, as well as archival fragments and interviews.