We started making machines together in 2010. These machines consisted of a sensor and device couplet, by which a sensor would trigger a device to perform a simple task. We experimented with sensor inputs like passing cars and tasks like heat guns blowing up trash bags, or later we would connect the machines to trains and have them push little cardboard cars back and forth. Still triggered by trains, the machines now move clock parts.

We disassemble mechanical clocks, take their parts and combine them with L-brackets, screws, washers, nuts, motors, felt, rubber bands, fishing line, and heat shrink tubing. The characteristics of the clock parts constrain and guide our activities. As we reinvent their function, the parts become less and less recognizable, their movements more and more estranged.

—Michèle Graf & Selina Grüter, 2023

Co-founder of the BMTP group, Daniel Buren (born 1939 in Boulogne-Billancourt, France) is a major figure on the international art scene. He made a name for himself on the art scene in the 1960s. In 1965, Daniel Buren settled into an approach based on a striped canvas with alternating white and coloured, 8,7 cm‑wide stripes. The introduction in late 1967 of what he called a “visual tool” laid the foundations for a practice that broke with tradition and opened up a multifaceted body of work in which freedom was born, as the artist likes to point out, out of both internal and external constraints. Daniel Buren explored this “visual tool” by developing it on a flat surface and, from the end of the 1960s, in three dimensions.

Produced on the occasion of the exhibition Jack Smith at The Modern Institute, 14–20 Osborne Street, Glasgow, 24 January–24 March, 2015.

Jack Smith (1932–1989) is a central figure in the cultural history of downtown New York film, performance, and art. He began producing work in the late 1950s and became one of the most accomplished and influential artists working in the 1960s, 70s, and 80s. Inspired by 1960s subcultures of New York, underground film and experimental performance, Smith created a fantastical world fiction around his disgust with contemporary American consumer culture and a fascination with faux-Hollywood, as well as Orientalist exoticism. Through his own artistic and personal exploits, Smith developed a truly eccentric and captivating persona. Over the course of three decades, he transformed downtown New York into a theatrical environment for his ventures in film and photography.

Produced on the occasion of Josephine Pryde: How Frequency The Eye at Haus am Waldsee, Berlin, May 24–August 18, 2024.

In her practice, Josephine Pryde explores modes of creation, consumption, and production of images, most often through photography. Employing a wide range of technical means, she takes up ideas conveyed through camera-generated images, in order to challenge and re-examine established modes of reception and expectation as to how the visible may be rendered.

How Frequency The Eye continues Pryde’s recent reflections on perception, cognition, and language, and her questions as to how an exhibition of artworks may articulate such concerns. In conjunction with prior works and a short film, the exhibition features a new series of photographs in which the artist interrogates interplays between the eye and consciousness.

Produced on the occasion of the exhibition Photography and Fashion Since the 1990s at Tokyo Photographic Art Museum, 3 March–5 October, 2020, including photographers Anders Edström, Kyoji Takashi, Elein Fleiss, Yukinori Maeda, PUGMENT and Takashi Homma.

The 1990s saw the emergence of photographers who went beyond the conventional framework for communicating the appeal of fashion items to create images that appeal to people. Moreover, fashion magazines appeared that took an independent stance in transmitting information. Images created from new points of view influenced people’s thinking and lifestyles. Those images have been referred to repeatedly by subsequent generations.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of Daniel Spoerri’s exhibition at Sabine Wachters Fine Arts, Knokke, Brussel, Deurle, 8 September–15 November, 1991.

Daniel Spoerri is a Swiss artist and writer, best known for his “snare-pictures”, a type of assemblage or object art, in which he captures a group of objects, such as the remains of meals eaten by individuals, including the plates, silverware and glasses, all of which are fixed to the table or board, which is then displayed on a wall.

*Please note this publication is secondhand and may have some traces of previous ownership.