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.

Produced on the occasion of the exhibition Kai Althoff: Kei Kein Respekt (Kai No Respect) at the Institute of Contemporary Art, Boston, May 26 – September 6, 2004

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

Fanal – a recondite word for lighthouse or torch, and a cognate in German and English – began as Kai Althoff’s solo step outside of his long running and in certain spheres abundantly cherished (and in certain spheres perfectly uncomprehended) duo with Stephan Abry. The first Fanal album is a primarily instrumental collection bolstered and upholstered with muscular synthesizer arpeggiations and martial drum machines. After Workshop’s intimacies, Fanal’s relative coldness made the project seem as distant and magisterial as the secluded castle pictured on the album cover (not to mention the sublimity of the castle’s manicured grounds).

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

Produced on the occasion of the exhibition at Le Centre D’art Contemporain, Cluny 5 July–28 September, 2003. With texts by Vincent Pécoil and Xavier Douroux.

Henrik Olesen’s artworks question the sexually political effects of everyday conventions. Contemporary and historical materials serve as the starting points for this inquiry. These materials include visual and textual representations drawn from the fields of architecture, the history of industrialization, the imposition of legally sanctioned punishment, verdicts handed down by courts of law, the geographic and demographic distribution of capital, the natural sciences, and the history of art. Olesen uses the techniques of appropriation, manipulation or contextual shifting to explore the theme of the stigmatization, criminalization, and repression of homosexuality.

Produced on the occasion of Vivian Suter’s 2004 exhibition at the Kunstmuseum Olten.

More than thirty years ago the Swiss-Argentine artist Vivian Suter moved to the rain forest in Panajachel, Guatemala, to live on a former coffee plantation. Since then she has worked on her impressive paintings in her wooden-hut studio, as well as outdoors. Her canvases lie on the sandy ground or hang in trees; dust, mud, leaves, mangos, and insects leave their traces on them. Her painting is influenced by organic processes and coincidence—even natural disasters are her material, when flood waters make their mark on canvases, becoming part of her large, colourful paintings.