Produced on the occasion of the John Armleder’s exhibition at Galerie van Gelder, Amsterdam, 29 January–11 March, 2000.

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

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.

“The world is full of various products which are, however, often unsatisfactory. On the one hand, it is fascinating how well thought-out many things are produced in regard to economic viability. But on the other hand, this leads to very few things which can be used in other ways than what they were intended for, i.e. things allowing other uses apart from their original purpose. Furthermore, there are many exclusively designed but expensive things serving additional social ends. My grid bloc elicits different possibilities of use, thus supplementing the existing programme. Wherever a demand is presumed, it will be offered for sale.” Haegue Yang

Cover designed by Achim Reichert.

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

Produced on the occasion of Cosima von Bonin’s exhibition Rabbit at Rest at Ursula Bickle Stiftung, September 17–October 15, 2000.

Cosima von Bonin came of age as an artist in the 1990s amid the storied art scene in Cologne. In her practice, mixed references to art history, popular culture, and music are seen in tandem with a destabilising approach to craft and domestic activities. Many of her recent installations are populated with casts of cartoonish fabric characters–fish, whales, mushrooms, dogs, rockets–whose endearing appearances conjure a range of contradictions: delight and horror, softness and rigidity, and humour and sorrow.

Designed by Yvonne Quirmbach and Reile Hertz.

Produced on the occasion of Cosima von Bonin’s exhibition The Cousins at Kunstverein Braunschweig, February 5–March 26, 2000.

Cosima von Bonin came of age as an artist in the 1990s amid the storied art scene in Cologne. In her practice, mixed references to art history, popular culture, and music are seen in tandem with a destabilising approach to craft and domestic activities. Many of her recent installations are populated with casts of cartoonish fabric characters – fish, whales, mushrooms, dogs, rockets – whose endearing appearances conjure a range of contradictions: delight and horror, softness and rigidity, and humour and sorrow.

With texts by Kai Althoff, Diedrich Diederichsen and Josephine Pryde.

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

Produced on the occasion of the exhibition AA Bronson 1969–2000 at Secession, Vienna, 5 October–26 November, 2000.

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