For almost fifty years, Senga Nengudi (b. 1943, USA) has shaped an œuvre that inhabits a specific and unique place between sculpture, dance and performance. The publication accompanies the first solo exhibition of Nengudi in Germany at the Städtische Galerie im Lenbachhaus, Munich. Among the bodies of work presented in the book are the Water Compositions (1969–70), interactive vinyl and water sculptures that Nengudi understood as an organic rebuttal to the reign of Minimalism; early fabric works that Nengudi strung up in the back alleys of Harlem, New York and the suggestive R.S.V.P. sculptures - performative objects made from pantyhose and materials such as sand and stone – (1976–today). With newly commissioned essays by Kellie Jones, Catherine Wood, and Malik Gaines.

Produced on the occasion of Mladen Stilinović’s exhibition Bijela odsutnost 1991–1996 at Galerija Josip Račić, Zagreb.

Mladen Stilinović was an artist who frequently employed everyday materials in his work, bringing into focus the interconnection of politics, language, artistic production, and daily life. From 1975–79 he was a member of Zagreb’s Group of Six Artists. His work included drawings, collages, photographs, artist books, paintings, installations, actions, films, and video.

Produced on the occasion of Mladen Stilinović’s exhibition Geometrija vremena—Kolaži 1993-1977 (Geometry of Time: Collages 1993–1977) at Centar z akulturu i obrazovanje, Zagreb, 1993.

Mladen Stilinović frequently employed everyday materials in his work, bringing into focus the interconnection of politics, language, artistic production, and daily life. From 1975–79 he was a member of Zagreb’s Group of Six Artists. His work included drawings, collages, photographs, artist books, paintings, installations, actions, films, and video.

Intermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence.

Despite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily available material in a language other that Japanese has meant the local context, particularly the ways in which the terms were critically debated, was relatively neglected.

Rather than assuming the interpretations of the terms were the same as their counterparts abroad, translations of a selection of key texts that were instrumental in shaping the specific discourse around these terms have been commissioned.

Produced on the occasion of Konrad Klapheck’s 1974 exhibition at the Museum Boijmans Van Beuningen, Rotterdam. Klapheck, who was just 10 when World War II ended, saw in the destroyed cities and ruined buildings all around him a certain beauty or spectacle. After becoming a student at the Düsseldorf Art Academy, Klapheck turned to a different kind of subject matter, creating the first of his many “machine pictures”: the 1955 painting Typewriter. He went on to expand his repertoire to include sewing machines, faucets, telephones, irons, and even a hay-turning machine

The plates of the present is a project based on the photographic process of photogram. In February 2013, artist Thomas Fougeirol and artist/curator Jo-ey Tang set up a photographic darkroom(nicknamed DUST) in Ivry-sur-Seine, bordering Paris. Since then, 130 participants have come through The plates of the present, comprising over 1,000 prints and a film. The project is named after the beginning of a sentence in William Henry Fox Talbot’s The Pencil of Nature (published in six installments between 1844 and 1946), the first photographically illustrated book. An exhibition was curated by Sonel Breslav at Baxter St/Camera Club of New York, New York in 2015 with a book published by Blonde Art Books and Secretary Press. A second exhibition was curated by Jo-ey Tang and Thomas Fougeirol at Galerie Praz Delavallade, Paris in 2017. At the end of 2018, the entire archive entered the permanent collection of Centre national d’art et de culture Georges-Pompidou, Paris.