For this solo exhibition in CCA, Glasgow, entitled It isnt what it used to be and will never be again (with reference to La révolution n’est plus ce qu’elle était, by Henri Lefebvre with Catherine Régulier, 1978), Bik Van der Pol have brought together works that are are hoovering around questions of information, what distribution of information might or might not set off in the public realm, and if action can, should or is tak(e)(ing) place when seemingly nothing seems to happen.

With contributions from the following writers and artists; Francis McKee, Anthony Iles, Jan Verwoert, Fiona Jardine, Neil Davids, Jon Bywater, Neil Gray, Darren Rhymes, Angelique Campens, Alexander Trocchi, Camcorder Guerillas, Sarah Pierce, Simon Yuill, Sarah Tripp and Bik Van der Pol.

Since the late 1970s, American artist Matt Mullican has developed a practice of performing under hypnosis that extends from his investigations into representation and subjective projection. The evolution of this body of work offers perspectives on repetition and renewal in performance practice. This book is the outcome of an extensive research project into Mullican’s hypnosis performances and a shared exploration of character construction, undertaken as part of the If I Can’t Dance project together with invited researcher Vanessa Desclaux. In her essay, Desclaux addresses the question of personification in light of her analysis of Mullican’s creative process.

Exhibition booklet roduced on the occasion of Pati Hill: Something other than either at Kunstverein München, 7 March–16 August, 2020, Pati Hill’s first posthumous institutional solo exhibition in Europe. Hill left behind an artistic output spanning roughly 60 years and encompassing various disciplines. Untrained as an artist, she began to use the photocopier as an artistic tool in the early 1970s and continued to do so until her death, leaving behind an extensive oeuvre that explores the relationship between image and text.

The exhibition also considers her writing, publishing, and editing as practices that both question and accompany the visual work. As a fragmentary, necessarily incomplete index of her engagement with image and text (re-)production, the show includes published novels, poems, sketchbooks, unpublished manuscripts, and letters in addition to the xerographs.

A PDF of the booklet can be found here.

Produced on the occasion of Hanne Darboven’s exhibition Für Rainer Werner Fassbinder at Kunstraum München, 16 March–25 May, 1988. With texts by Hans Dickel and Christine Tacke.

Hans de Vries concentrated on the study and registration of processes and appearances that occur in and are created by nature. De Vries was a close observer, an onlooker, an eyewitness, whose aim was to discern and document the relationship between man and his natural environment. His practice has been referred to as “micro-emotive art”, a term coined by the Italian artist Piero Gilardi. Hans de Vries Works 1968–1975 is De Vries’s first exhibition since he stopped producing art at end of the 1970s. It is a retrospective of all the publications and book-related works including parallel articles and essays about his practice.

Produced on the occasion of Lili Dijourie’s 1987 exhibition at Frac des Pays de la Loire. With a text by Saskia Bos.