Produced on the occasion of Barbara Hepworth’s exhibition at Kunsthalle Basel, 14 September–10 October, 1965.
“Film as essayistic collage is central to Steyerl’s works. She combines her own recordings with scenes from Hollywood movies and documentary material in various works, operating within different rhythms and time intervals. Her films criticize an understanding of the documentary image as a bearer of history and authenticity and as an object of empathy and identification.In a time where imagery travels, is being reinterpreted, used and distributed more quickly than ever before, the image as document has lost its apparent authority as a witness.”
Introduction by Tone Hansen. Essays by Pablo Lafuente, Hito Steyerl and Maria Muhle.
Three volume artist book reproducing avid fan of the Japanese avant-garde, Teruo Nishiyama’s scrapbook. Despite not having personal contacts in the art world, Nishiyama witnessed many of the emerging radical art events and exhibitions of the 60s, including those by the Neo-Dada Organizers and Tokyo Fluxus. He also meticulously documented everything he saw in photographs and copious written notes, as well as by collecting ephemera. He preserved the material he had assembled over the course of two years in a scrapbook album.
The first volume of this new publication depicts the exhibitions Nishiyama attended in Tokyo from 1965 to 1966. In the second volume, Chung and Maeda have attempted to follow Nishiyama’s methods, documenting various exhibitions held in Tokyo from January 17th to February 3rd, 2017. The third volume includes an English translation of the notes in the Nishiyama’s scrapbook, as well as an interview with Nishiyama by Chung and Maeda.
An artist book by Jay Chung and Q Takeki Maeda that offers summaries of several hundred documents from the archive of gallerist Alfred Schmela, now housed in the Getty Research Institute collection. Through his gallery, Schmela introduced and promoted innovative European and American artists such as Joseph Beuys, Arman, Gerhard Richter, ZERO (Otto Piene, Günther Uecker and Heinz Mack), Hans Haacke, Christo, Lucio Fontana, Robert Indiana and Yves Klein. For Letters, Chung and Maeda concentrate on the final years of the gallery’s operations, beginning from 1980 when, upon his death, the gallery was taken over by Schmela’s daughter Ulrike. With active support from his wife Monika, the gallery operated under Ulrike’s directorship until its closure in 1992.
Edition of 300. Introduction by Helen DeWitt. Designed by Ronnie Fueglister.
To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia since the 1970s including: Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney; and Duoda—Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe’s research proposes a trans-generational approach to feminist politics.
This publication accompanies two exhibitions of recent sculptural work by the artist Magali Reus: Hot Cottons (2017–18) at Bergen Kunsthall and As mist, description, (2018) at the South London Gallery. Featuring an essay by writer and curator Laura Mclean-Ferris and a poetic response by writer and poet Quinn Latimer as well as a fully illustrated overview of Reus’s work, this catalogue provides an in-depth exploration of the artist’s recent sculptural practice.
Producing a sculptural language that is both familiar yet unlocatable Reus draws heavily on the past and present landscape of industry and fabrication, creating forms using a plethora of materials that include: mesh, jesmonite, cotton, steel, rubber, leather. Interested in collaborative processes of making, from virtual design to handmade fabrication, Reus combines sculptural games with material explorations.
Designed by A Practice for Everyday Life.