Spanning more than three decades, “In Part” brings together a full spectrum of the New York–based artist, writer and activist Julie Ault’s published texts through selected extracts in a single volume. Reprinted in chronological sequence alongside a selection of full-length texts, this series of excerpts offers a timeline of Ault’s artistic development, longstanding political concerns and dynamic interpersonal affinities. The book is edited by Julie Ault and Nicolas Linnert and has an introductory text by Lucy R. Lippard. The book is published in collaboration of Dancing Foxes Press and Galerie Buchholz.

Haris Epaminonda uses video and film, collage, photography, books and objects in an extensive process of assembling and disassembling appropriated materials to reconstruct non-linear narratives. The artist works with found images from the past – sometimes faded travel photographs, or the pages of old nature magazines, ethnographic artifacts or footage from forgotten television programmes. Epaminonda then manipulates the images, cutting and layering, to create new works that feel wholly part of the present.

In tracing some of the notions and narratives embedded in Chapters, a 16 mm film shot in Cyprus in 2012, the idea of making a book came about as an exercise, or rather an experiment, to deconstruct the film into some of its subject matters. Embarking on a new set of associations between image and subject, source and information, meaning and abstraction, this book is both a document and a memory map, tracing the beginnings of a thought, a time, an image, a place.

Chapters I–XXX is published and presented in conjunction with the exhibitions Haris Epaminonda. Chapter IV at Fondazione Querini Stampalia, Venice, 14 March–18 May 2014; Haris Epaminonda. Vol. XIV at Galleria Massimo Minini, Brescia, 25 March–18 May, 2014.

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception—all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique.—Between Bridges, 2007

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception—all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique.—Between Bridges, 2007

From a collection of catalogues documenting presentations of Posenenske’s work installed at various locations including Deutsche Bank, Deutsche Lufthansa, Grossmarkthalle Frankfurt and Hauptbahnhof Frankfurt 1989, organised by Burkhard Brunn.

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception—all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique.—Between Bridges, 2007

From a collection of catalogues documenting presentations of Posenenske’s work installed at various locations including Deutsche Bank, Deutsche Lufthansa, Grossmarkthalle Frankfurt and Hauptbahnhof Frankfurt 1989, organised by Burkhard Brunn.

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception—all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique.—Between Bridges, 2007

From a collection of catalogues documenting presentations of Posenenske’s work installed at various locations including Deutsche Bank, Deutsche Lufthansa, Grossmarkthalle Frankfurt and Hauptbahnhof Frankfurt 1989, organised by Burkhard Brunn.