The artistic practice of Mladen Stilinović, one of the founders and the liveliest protagonists of conceptual art in Croatia and the region, may be presented by using the key words, i.e. words that introduce the core problem and the procedures that the artist uses: language, ideology, manipulation, appropriation, correction, irony, installation, de-contextualization, exploitation, repetition, tautology. In Stilinović’s well-known Dictionary–Pain (2000–2003) have been crossed out white and changed into one and the same word of unique meaning—pain—in a potential “imperatival dictionary” some words could easily change places and the structure without the change of meaning.

Edited by Daniel Buchholz and Christopher Müller. Produced on the occasion of Jack Goldstein’s first exhibition at Galerie Buchholz in 2000, with aphorisms by the artist, a new essay by John Miller and an interview by Morgan Fisher. The book also includes a commented list of Jack Goldstein’s films and records.

Jack Goldstein was one of the most important artists of the 80’s in New York. He returned to California in the 90’s and slowly disappeared from the art world until renewed interest in his work began to happen in 2000. He was in the first graduating class from CalArts and went on to experiment with performance, film, recording, sculpture, and painting. His art of the late seventies, eighties, and early nineties influenced many artists who came after him. He died on 14 March, 2003.

Produced on the occasion of the exhibition Ketty La Rocca, at Galerie im Taxispalais, Innsbruck, 6 June–10 August, 2003.

Ketty La Rocca (1938–1976) was an important proponent of Conceptual and Body Art in Italy in the 1960s and 70s. Based on a visual poetry, she dealt radically with the sociopolitical limits of the meaning of language and images in her collages, performances and photographs. A central aspect is the examination of the bodily gesture as an “original means of communication”.

Produced on the occasion of the exhibition Univerzálne Futurologické Operácie at Kölnischer Kunstverein 19&nbspJuly–21&nbspSeptember, 2003.

Július Koller (1939–2007) was one of the most important Eastern European artists working since the 1960s. From the mid-1960s he designed Antihappenings and Antipictures, creating a playfully ironic oeuvre that combined a Dadaist spirit with radical-skeptical stance. Koller painted object-images in white latex and pictures of question marks that became the universal symbol of his critical view of everyday life and reality. Koller saw tennis and table tennis as participatory art forms and here too he combined sport with political statement by demanding that the rules of the game and fair play be adhered to—as the basis of all social action. After the Prague Spring was put down, Koller began his U.F.O.naut series that challenged reality with “cultural situations” and utopias of a new, cosmohumanistic culture and future.

More on Július Koller can be found here.

Produced on the occasion of the tour of the exhibition Consciousness. Meditation. Watcher on the Hills, this publication gathers and documents Kawara’s Date paintings (revealing for the first time their method of production), telegrams and books from the One Million Years series. Texts by Yamamoto, Khalil Gibran, Osho, René Denizot, Michel Gauthier, Franck Gautherot, Jonathan Watkins, Adachi, Penrose, Hamerro, Bohm.

Published on the occasion of Piero Gilardi’s 2003 exhibition at Costantini Arte Contemporanea e il Torchio Galleria d’Arte, Milan.

Piero Gilardi’s artistic practice is certainly an early statement about this evolution into a machine-made and financialized nature. From his role as one of the early protagonists of Arte Povera, to his collective actions organized for protests, and since 2008 the development of his initiative Parco de Arte Vivente in Turin, Gilardi has forged a distinctive unity between artistic practice and activism.

Since 1963 Gilardi has produced large, hyper-realistic sculptures of polyurethane foam, the so-called Nature Carpets. With these interactive sculptures he tries to give new meaning to interaction between viewer and artwork and nature and culture.