Produced on the occasion of Josephine Pryde’s exhibition Serena at Kunstverein Braunschweig, 28 April–10 June, 2001.

Pryde’s work attacks stock photographic aesthetic by technically reworking and reconfiguring images and by addressing the conditions of their display. The surfaces of glossy fashion photographs are disrupted by the insertion of aluminium tubes, which emphasise their ‘objectness’ and their status as artworks. Colourful photoshop juxtapositions of MRI scans of the human foetus and macro-lens desertscapes are unnervingly loaded. They refer to the history of darkroom experimentation and to contemporary medical-imaging techniques. Pryde doesn’t reject the language of photographic imagery, rather she adopts it and layers it up. Her guinea pig portraits are inspired by ‘cute pet photography’ but her choice of subject conjures associations with laboratory research.

Texts by Pamela M. Lee, Pauline van Mourik Broekman and Josef Strau.

Produced on the occasion of Henrik Olesen’s 2001 exhibition at Kunstverein Braunschweig. With texts by Sabeth Buchmann and Karola Grässlin.

The project examined the consequences of legal restrictions on identity and lifestyle. It dealt with the criminalization of homosexuality and documented cultural peculiarities, the current legal situation and pictorial representations from different countries of the world.

This artist book, entirely conceived and designed by Kai Althoff, features drawings, photographs and installation views of his exhibition Aus Dir at Galerie Daniel Buchholz, Cologne.

Booklet produced on the occasion of the exhibition Nieuw Licht, 8–31 March, 2001 with Kris van Dessel, Piet Dirkx, Marc Nagtzaam, Joeri De Winter.

Produced on the occasion of Kansuke Yamamoto: Conveyor of the Impossible, 22 August–24 September, 2001.

Kansuke Yamamoto was a photographer and poet. He was a prominent Japanese surrealist born in Nagoya, Japan.

Yamamoto’s early experiments in collage and photomontage utilized the techniques of the Surrealists in tandem with his own artistic philosophies, beginning a lifelong dialogue in internalizing an internationally inherited art form into his own. While it is known that artists such as Man Ray, László Moholy-Nagy, Yves Tanguy and René Magritte were inspirational to Yamamoto during his artistic development, his photographic works and skills from the outset were strongly innovative and equally comparable to the European artists who he studied

This highly original work represents the socio political situation of the 1930s through a veil of whimsy, sexuality and lampoonery, signature themes in Yamamoto’s practice. By the end of the 1930s, he was leading the Nagoya avant-garde scene as an influential center in Japan. During the Pacific War and until the end of World War II artistic activities were forbidden, and it was after the war’s end that Yamamoto continued to create singular works; working in different mediums including photography, drawing, painting and poetry.—Taka Ishii Gallery