Produced on the occasion of Documenta IX, Kassel, 13 June–20 September, 1992.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of the exhibitions at Kunsthalle Tübingen, Tübingen; Van Abbemuseum, Eindhoven and Frankfurter Kunstverein, Frankfurt.
Despite having only a brief artistic career, spanning from 1962 to 1967, Peter Roehr left behind him a prolific oeuvre of pioneering collages, photo and sound montages and films. Roehr developed a proto-conceptual practice borrowing from pop art and minimalism. His practice was based on the principle of serial organisation and montage, focusing on the effects produced by unvaried repetition.
*Please note this publication is secondhand and has some traces of previous ownership.
This collection of poetry, prose, and other texts is the first publication dedicated to the writing of the late performance, video, and visual artist Stuart Sherman.
The Stuart Sherman Papers presents a selection of facsimile reproductions from his archive. This collection of entries is not exhaustive but conveys the diversity in Sherman’s writing, which used the ever-expanding vocabulary of the English language as a plastic material to study the abundance of meaning that can be derived through playing with combinations, order, and proximity of words. The texts reproduced here leave his edits, scribbles, and notes to self intact, presenting the page as Sherman last engaged with it.
Stuart Sherman (1945–2001) was a New York- based artist best known for his performances and video, but working in a variety of visual and literary media. He performed, exhibited, and lectured throughout the United States, Europe, and Asia. Sherman died of AIDS in San Francisco in September 2001.
The films and theoretical works by Trinh T. Minh-Ha blend different forms of writing and narrating; the mutual challenge of the theoretical and the poetical, discursive and “non-discursive” languages tell of Trinh T. Minh-Ha’s resistance against categorizations and limitations, which is carried out right across ethnicities and cultures.
Produced on the occasion of the exhibition Trinh T. Minh-ha, at Secession, Vienna, 7 March– 22 April, 2001.
*Please note this publication is secondhand and has some traces of previous ownership.
Produced on the occasion of the exhibition Philosopher of her own Ruin at the Bonner Kunstverein, 23 February–27 July, 2025. Curated by Alan Longino and featuring the work of Dusti Bongé, Rosemarie Castoro, Anna Bella Geiger, Susan Hiller, Ishiuchi Miyako, Lisa Robertson, Bertram Schmiterlöw, Sydney Schrader, Linda Semadeni and Tokiwa Toyoko.
“This exhibition and its attendant research follow the path of an entity, once a person, who passed from a moment of hypervisibility into invisibility at a critical juncture in their life. It was in this later moment of life, when their body had undergone a previously unknown transformation, that a new freedom came to them. This new freedom then allowed an entirely novel path of self-realization to occur.” Alan Longino
Edited by Fatima Hellberg, Andrew Christopher Green and Martha Joseph. Designed by Pedro Cid Proença.
An in-depth look at the Shonandai Cultural Centre, one of the groundbreaking buildings in 1980s Japan and the masterpiece of Japanese architect Itsuko Hasegawa, presented in photographs and technical drawings. The Shonandai Cultural Centre was the first major public project of Itsuko Hasegawa. Shonandai belongs to a different time – the 1980s – and a different place, Japan, but it shares the desire of earlier generations to “overcome” modernism. Hasegawa achieves this in the most outlandish way, possible perhaps only in Japan in the 1980s. This is where the 1960s techno avant-garde comes full circle. Illustrated with photographs by Stefano Graziani, this book is part of the Everything without Content series by Kersten Geers, Jelena Pancevac and Joris Kritis and successor to previous books on Aldo and Hannie Van Eyck and Giancarlo de Carlo.