Abstract painter Giorgio Griffa, closely linked to the Arte Povera movement, first became known in the 1960s as part of an Italian generation of artists who sought to radically redefine painting.

Believing in the ‘intelligence of painting’, Griffa allows the essential elements of his process, such as the type or width of the brush, the colour or dilution of the paint and the nature of the canvas, whether linen, cotton, hemp or jute, to influence and form the work. Griffa’s approach is performative and time-based—often working horizontally on the floor, his rhythmic, formal gestures soak into the unprimed and unstretched material.

Produced on the occasion of the exhibition Lili Dujourie at Bonner Kunstverein, 8 December, 1989–11 February, 1990; Centre National d’Art Contemporain–Magasin, Grenoble, 13 May–24 June, 1990 and daadgalerie, Berlin, September–October, 1990.

The work of Lili Dujourie provokes an astutely intellectual yet poetic engagement with the world around us through various mediums, from painting and sculpture, to photography, collage, video and installation. Dujourie operates at the intersection of minimalism and conceptualism, consistently and systematically challenging the subject position of the viewer through clever experimentation with material and form.

Produced on the occasion of the exhibition Lili Dujourie at Bonner Kunstverein, 8 December, 1989–11 February, 1990; Centre National d’Art Contemporain–Magasin, Grenoble, 13 May–24 June, 1990 and daadgalerie, Berlin, September–October, 1990.

The work of Lili Dujourie provokes an astutely intellectual yet poetic engagement with the world around us through various mediums, from painting and sculpture, to photography, collage, video and installation. Dujourie operates at the intersection of minimalism and conceptualism, consistently and systematically challenging the subject position of the viewer through clever experimentation with material and form.

A promotional poster published by Art Metropole for Ian Hamilton Finlay’s Bicentennial Proposal: The French War: The War of the Letter curated by Peter Day and was exhibited at Art Metropole between 23 September–21 October, 1989.

The sheet music depicted is composed by Peter Davidson entitled Two Flutes for St. Just. and subtitled Music for the opening of Ian Hamilton Finlay’s Bicentenary Celebrations.

Exhibition invitation produced on the occasion of Braco Dimitrijević’s exhibitions; Triptychos Post Historicus or, Far From Harbour, Near The Stars at the Queensland Art Gallery, Brisbane, and The Sky of The South Hemisphere; Post Historical Dimension at the Institute of Modern Art, Brisbane.

Pamphlet to accompany the presentation of Man Ray’s films at SEED, Tokyo. The season ran from Tuesday 9 September–Thursday 26 September, 1989.