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.

Xeroxed artist book by Josef Strau published on the occasion of the exhibition Teil I: Müllberg at Galerie Buchholz, Köln. The brochure contains the second part of a narrative written by the artist under the title Dear Little Tiger. The first part White Nights was published in 2003 by Pork Salad Press / Jacob Fabricius, Copenhagen.

Produced on the occasion of the first extensive UK exhibition of the highly influential New York based video and performance artist, Joan Jonas, a collaboration between two venues: John Hansard Gallery, Southampton, and Wilkinson Gallery, London, during 2004–2005.

Works included range from early films and performance documentation to two new major installation works. This publication contains extensive texts which examine her work both past and present, and contextualise it within a broader cultural framework.