Comprehensive survey of early Japanese abstract painting (and photography). Including Koshiro Onchi, Iwata Nakayama, Saburo Hasegawa, Kiyoshi Koishi, Ryuichi Amano, Ei-Q and many more.
Wild Plants of Palestine follows journeys of observational tours solicited by the Palestinian Museum and conducted by two professors from Birzeit University to collect photos of and information on the Palestinian Flora. The title is adapted from a collection of 123 images (circa 1900 to 1920) of wild flowers in Palestine found in the Matson Collection in the Library of Congress. Despite the tendency to trace the wild plants, the text in general aims at questioning the territorial extension of what is meant by the term “Palestinian”, while standing on insignificant topographical features of the (postcolonial) landscape in West Bank. Furthermore, it addresses photography as a practice and a tool of distributing and restricting information at once.
Produced on the occasion of Rosemarie Trockel Plastiken 1982–1983 at Monika Sprüth Galerie, Cologne, Germany and Rosemarie Trockel at Galerie Philomene Magers, Bonn, Germany, 1983.
Text (in German) by Wilfred W. Dickhoff. Photography Bernhard Schaub. Designed by Betrieb Am Niehl.
As part of Paris Internationale 2019, 1856 presented “Everything is fine” with work by Patricia L. Boyd, Ian Burn, Lauren Burrow, and Fred Lonidier.
The work of art is possibly one of the only commodities with equal claim to both private and civic space. It is due to how artworks are embedded in our social relations that we recognise their different values: as historical artefacts, as objects of appreciation (“beautiful” or sensible to taste), political critiques, private financial investments, modes of communication, public documents of the national imaginary—the list goes on. However, the line that divides private and civic has become ever more indiscernible in recent decades—for instance, the erosion of public infrastructure and state industry, private capitalisation on culture and entertainment, the withering of the 8 hour work day, the return of 19th century work conditions, and the ongoing enclosure of our personal lives by a new technological industrialism. In response we might ask, in a reflective manner, what capacity the work of art has to represent these problems at the different points of its reception. The four artists selected here, at different times and with different methods, have asked this of their work.
Curated by Nicholas Tammens. Designed by Ziga Testen.
More on information can be found here.
Notes on Fundamental Joy; seeking the elimination of oppression through the social and political transformation of the patriarchy that otherwise threatens to bury us holds up the work of JEB, Clytia Fuller, Tee Corinne, Ruth Mountaingrove, Katie Niles, Carol Osmer, Honey Lee Cottrell, and others, documenting a community of women/womyn in their collective embrace of the ‘back to the land’ movement. Through the lens of pervasive image-making—women holding cameras, women taking pictures of women—the project considers the radical potential of social and political optimism predicated on the absence of men.
The book includes a personal essay by writer and artist Ariel Goldberg realized in two parts, understanding the photographs and wider cultural moment through a broader gender lexicon and in the context of trans-exclusionism.
Printed on Igeba IBO One 60gsm, a lightweight semi-transparent paper which allows for the show-through of images between page, creating an exchange and dialog between partially visible photographs.
Produced on the occasion of Rossella Biscotti’s 2013 exhibition The Side Room, at Secession, Vienna, 5 July–1 September, 2013. With texts from Carolyn Christov-Bakargiev, András Pálffy, Bettina Spörr, Laboratorio Onirico.
Designed by Louis Lüthi.