Produced on the occasion of the exhibition On Kawara: The ’90s at Art & Public, Geneva, 27 May–26 June, 2004. With a text by Thierry Davila.

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

Produced on the occasion of Joëlle Tuerlinckx and Willem Oorebeek’s exhibition Mit einem Fuß in der Realität at the Badischer Kunstverein, Karlsruhe, 11 April–9 May, 2004.

The energy of BILD, oder comes from the associative dialogue between the two artists and the pooling of their respective archives: their own works, working notes, scraps, newspapers, posters, and other various sources preserved for various reasons. This accumulation of traces from their daily practice punctuates the flow of time.

Produced on the occasion of the exhibition Josef Dabernig: Proposal for a New Kunsthaus, not further developed at the Grazer Kunstverein, Graz, 4 June–11 June, 2004.

Produced on the occasion of Cosima von Bonin’s exhibition 2 Positionen auf einmal / 2 Positions at once at Kölnischer Kunstevrein, Köln, October 30, 2004–January 16, 2005.

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.

Produced on the occasion of the exhibition Peter Shire: Ceramics, Works on Paper at Frank Lloyd Gallery, Santa Monica, May 8 – June 5, 2004

Peter Shire is an LA-based artist whose subversive humour and playfulness extend throughout his work and made him a natural fit for the controversial and iconic Milan-based Memphis design group, of which he was a founding member.

Published in association with the first major survey exhibition of Kai Althoff’s work organized by the Institute of Contemporary Art, Boston, Kai Kein Respekt documents the most important aspects of his work over the past fifteen years. Full-color illustrations of Althoff’s drawings, watercolors, collages, paintings, photographs, performances, and installations present a comprehensive overview of his complex and varied oeuvre. Essays by the exhibition curator, Nicholas Baume; MCA Chicago curator Francesco Bonami; leading German cultural critics Diedrich Diederichsen and Olaf Karnik in addition to several texts by the artist provide a thoughtful and detailed account of Althoff’s work and its significance.