The book Christoforos Savva: Untimely, Again is published on the occasion of the participation of the Republic of Cyprus at the 58th edition of the Venice Biennale. Untimely, Again is a posthumous exhibition of works by Christoforos Savva (1924–1968) presented at the Cyprus Pavilion.

The publication focuses, in a very precise but also circumscribed manner, on a specific aspect of Christoforos Savva’s work that is beyond the artist’s control: the artwork’s presence in the world. The moment the work leaves the studio and goes into the world is, quite often, when artists themselves find out whether it has sufficient autonomy and strength. In Savva’s case and particularly in the case of such a fragmented photographic archive – and, therefore, so fascinating and suggestive – as the one presented in the book, the glimpses of his work in contact with the world over time silently witness and reflect the transformations of a society. Looking at, often blurred or slightly crooked, amateur photographs is a way to reaffirm that what matters, when one faces the work of Christoforos Savva, is not only or not so much individually looking at each painting, yfasmatography, or relief on its own, but also looking at the world around them. Designed by Studio Manuel Raeder.

The Memory of The Archive: Christoforos Savva in the 1954–1968 Cypriot Press & Literary Periodicals is published on the occasion of the survey exhibition project Untimely on Time: Christoforos Savva (1924–1968), co-organised by the Cyprus Ministry of Education and Culture, Cultural Services and Point Centre for Contemporary Art, Nicosia and presented at the State Gallery of Contemporary Art – SPEL, Nocosia, Cyprus, between 31 January and 31 March 2019.

The book is a compilation and an archive of press cuttings, consisting of more than two hundred articles, commentaries, reports, and advertisements that appeared in the mainstream Cypriot press and literary periodicals between 1954 and 1968 and relate to the Christoforos Savva. The press cuttings are treated as objects with a story, a narrative worth telling with the goal of shedding new light on the artist’s life and career. Designed by Studio Manuel Raeder.

Produced on the occasion of Carol Bove’s exhibition The Foamy Saliva of a Horse at the Common Guild, Glasgow, 20 April–29 June, 2013. With texts by anthropologist Tim Ingold & psychoanalytic psychotherapist Derek Raffaelli.

Invitation card produced on the occasion of Ruth Buchanan’s exhibition Dead Marble at Artspeak, Vancouver, 9 June–28 July, 2018.

In 1958, weaver Ilse von Randow was commissioned to produce a major work of woven curtains for the Auckland Art Gallery Toi o Tamaki in New Zealand. Her ‘Auckland Art Gallery Curtains’ became the largest piece of hand weaving created in New Zealand. In her first presentation of work in North America, Dead Marble revisits von Randow’s curtain, and the newly designed Auckland Art Gallery sculpture court (1953) in which they were hung, as a departure point to reconfigure the complex relationships between gendered representations, institutional hierarchies and the burden of inherited legacies.

BAD VISUAL SYSTEMS is an extension of the exhibition with the same title held at the Adam Art Gallery, Wellington, New Zealand in late 2016. Through paying close attention to both colour and texture the publication brings together elements seen in the show and transforms and reconfigures them into the framework of the A4 page: the tongues of Judith Hopf’s concrete serpents become cartoon-style cut outs, Ruth Buchanan’s 13m long banner of wavy lines becomes a place holder that repeats throughout the book while Marianne Wex’s work is discussed in detail in a new essay by Mike Sperlinger. The book also includes an introduction to the project by Christina Barton and a fold-out index of exhibition snapshots. Designed by HIT Studio. Photography by Shaun Waugh, Sophie Thorn, Jim Barr.

This record brings together the three components from a major body of work by Ruth Buchanan. Here, the forms of performance, exhibition and film are compressed through and into audio; the record becoming both the documentation of the work at the same time as proposing a script for future versions. Buchanan’s texts and graphics are rendered into paired back dense sound pieces where the capacity of language as a system that is both employed by and defines the subject is emphasized. Buchanan explores the examination of subject and system by language, where language itself constitutes a contested field of interaction between the two.

Or, a building was recorded in part at the Badischer Kunstverein, Karlsruhe. Or, a screen was recorded in part at the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin.

This record is released on the occasion of the exhibition Or, a camera Or, a building Or, a screen by Ruth Buchanan at the Kunstverein Harburger Bahnhof, Hamburg, September 19 – December 13, 2015 curated by Anna Sabrina Schmid.

The exhibition and the record act as the epilogue to the body of work commissioned by the Badischer Kunstverein, Karslruhe and the Institute of Modern Art, Brisbane.

You can here an audio sample here.