Published on the occasion of Jason Dodge’s 2017 exhibition at the Schinkel Pavillon, Berlin.

From the press release “We are pleased to announce the final instalment of our exhibition series Porzellan und Vulkan with the exhibition Jason Dodge and Paul Thek. In the Schinkelklause several of Paul Thek’s major drawings will be displayed, while on the upper floor of the Schinkel Pavillon Dodge will present a sculptural installation. Dodges installative work and a program of poetry readings will draw conceptual reference to the work of Paul Thek and his engagement with rituals of diverse kinds.

The paralells between Thek and Dodge’s work in material and meaning are unmistakable. In addition to the visual exhibitions, the collaborations include readings by poets Dodge has published, and a workshop from Thek’s teaching notes for his 4D class at Cooper Union 1978-1981—all of these elements contribute to the interweaving between the artistic disciplines and embellish the notion of collaboration.”

Published on the occasion of the exhibition “Behind this machine anyone with a mind who cares can enter” by Jason Dodge at IAC-Institut d’art contemporain Villeurbanne. Texts by CAConrad and Valentina Desideri. Translation by Gilles Berton.

Published on the occasion of Jason Dodge’s 2017 exhibition at the Schloßpark Pansevitz.

“The things in this book were once precious or at least kept for one reason or another. As Governments have fallen and currencies have been replaced, coins that were once used for buying things have stopped being circulated. The simple value of silver by weight is what connects these coins to necklaces, rings, tea sets and pins, now, all of these pieces of silver have become exchanged for money, the cash they could fetch has outweighed any sentimental or aesthetic value.

All of these things in this book are now hidden, lost between trees, in lakes, in the grass and under rocks throughout Schlosspark Pansevitz.” Camilla v.d. Bussche

Printed in an edition of 75 signed and numbered copies.

Thea Djordjadze mainly works with sculpture although she has also realized performances and been involved in music projects. In her sculptures, she often uses perishable, fragile, everyday materials that are derived from the vocabulary of domesticity and may hint at femininity, such as plaster, ceramic, silicon, sponge, cardboard, textiles and soap. The shelves, railings, walls and boxes that support or encase the sculptural objects, are simple but delicate architectural structures of wood and metal. Their expression stands in stark contrast to the organic shapes and “unfinished” surfaces of modestly scaled sculptures propped against walls, resting on shelves or hanging from railings. These passive-aggressive configurations of conflicting but mutually dependent objects make cryptic and elliptical reference to the sculpture of classical modernism. The artist’s drawings and watercolours are often part of installations, doubling and heightening their expressive impact and also underlining the fragmentary, unfinished state of the work. They are neither preliminary sketches for future three-dimensional works nor are they studies of already existing sculptures or autonomous pieces. It is as if the sculptures were living bodies that have assumed a definitive shape and became motionless only for a moment—and the drawings have taken note of their temporary appearance.

With texts from Oksana Bulgakowa and Adam Szymczyk.

Published on the occasion of Isa Genzken’s awarding of the Goslar Kaiserring Award 2017 and to accompany the corresponding exhibition at Mönchehaus Museum Goslar. With a text by Susanne Pfeffer.

Catalogue Raisonné of Atsuka Tanaka’s painting practice from 1957–2000.

Atsuko Tanaka was a Japanese avant-garde artist best known for her Neo-Dada Electric Dress (1956), a garment made from hundreds of lightbulbs painted in primary colors. This iconic work, which she wore to exhibitions, functions as a conflation of Japanese traditional clothing with modern urbanization, bringing an unexpected and challenging interpretation to both. “I wanted to shatter stable beauty with my work,” Tanaka once said. A member of the Gutai movement, much of her work used domestic objects like lightbulbs, textiles, doorknobs, and doorbells. With these objects, the artist was able to create work about the body without a body present. She maintained a broad practice that included performance “happenings,” sculpture, and installation, while her later work focusing on two-dimensional painting, with colorful organic abstract shapes connecting circles and lines.