(the drum) is one of Ulises Carrión’s early linguistic exercises in English, originally handwritten in black ink in 1972. The artist fragments the names of musical instruments to express a sound. His attitude to poetry precluded, to a certain extent, his book The New Art of Making Books: “The text of a book in the new art can be a novel as well as a single word, sonnets as well as jokes, love letters as well as weather reports.”

Ulises Carrión (1941–1989) is one of the most important figures of Mexican conceptual art. His 1975 manifesto The New Art of Making Books helped defined artist’s books as an autonomous artistic genre. His work includes numerous artist’s books—which was then designated as bookworks—but also video art, sound arts, performance and mail art.

In (a, b, c) Ulises Carrión presents one if his early linguistic exercises in English, originally handwritten in green ink in 1972. The author observes and explores the structure of the sonnet. He develops fourteen interrelated sequences, which he uses as a key to codify a narrative. The text of each poem follows the schematic order of its title.

Ulises Carrión (1941–1989) is one of the most important figures of Mexican conceptual art. His 1975 manifesto The New Art of Making Books helped defined artist’s books as an autonomous artistic genre. His work includes numerous artist’s books—which was then designated as bookworks—but also video art, sound arts, performance and mail art.

Produced on the occasion of the exhibition Guy de Cointet: Tempo rubato at Fundación/Colección Jumex, 3 December, 2012–14 February, 2013.

Guy de Cointet’s oeuvre, which includes drawings, publications, performance and film, intersects many of these areas of investigation, being at once performative, conceptual, minimalist, abstract and inspired by historic events, popular culture and mass media.

This publication includes a facsimile of the script for IGLU, a play he wrote in 1977, and its translation to Spanish.

Maria Eichhorn Aktiengesellschaft began its life in December 2002, as both a corporation and a work of art. Upon an invitation to participate in Documenta 11, Maria Eichhorn founded an Aktiengesellschaft, or public limited company. As is typical of such entities, the newly created firm was in her own name. It held a 50,000 euros portion of Documenta’s exhibition budget—divided into 50,000 shares of a euro apiece—meeting the minimum requirement of subscribed capital for an Aktiengesellschaft.

Maria Eichhorn Aktiengesellschaft mimetically uses the structure of the corporation against itself. The artist remains its sole managing board member and initial shareholder; she transferred all shares of the company to itself, to be held in perpetuity. The corporation belongs to itself, or, in Eichhorn’s words, “it ultimately belongs to no one,” and “the concept of property disappears in this case.”

More information can be found on the work here.

Maria Eichhorn Aktiengesellschaft began its life in December 2002, as both a corporation and a work of art. Upon an invitation to participate in Documenta 11, Maria Eichhorn founded an Aktiengesellschaft, or public limited company. As is typical of such entities, the newly created firm was in her own name. It held a 50,000 euros portion of Documenta’s exhibition budget—divided into 50,000 shares of a euro apiece—meeting the minimum requirement of subscribed capital for an Aktiengesellschaft.

Maria Eichhorn Aktiengesellschaft mimetically uses the structure of the corporation against itself. The artist remains its sole managing board member and initial shareholder; she transferred all shares of the company to itself, to be held in perpetuity. The corporation belongs to itself, or, in Eichhorn’s words, “it ultimately belongs to no one,” and “the concept of property disappears in this case.”

More information can be found on the work here.

Produced on the occasion of Rosemarie Trockel’s exhibitions at Kunsthalle Basel & ICA, London in 1988. With texts by Jean-Christophe Ammann, Wilfried Dickhoff and Peter Weibel.