Produced on the occasion of the exhibition Marc Camille Chaimowicz at the Kunstverein Dusseldorf, 10 September–6 November, 2005.

Booklet published to accompany the performance of Partial eclipse… at the Tate, London in 15 August, 2006.

Produced on the occasion of the exhibition Julie Ault, Martin Beck: Installation at Secession, Vienna, 22 September–12 November, 2006.

The exhibition consisted of an arrangement of individually and collaboratively authored installation fixtures, arenas, and works that functioned as the display architecture produced specifically for the Secession’s space.

The vocabulary inscribed by Félix González-Torres’ series of photographs Untitled (Natural History)—Patriot, Historian, Ranchman, Scientist, Soldier, Humanitarian, Author, Conservationist, Naturalist, Scholar, Explorer, and Statesman parenthesized the exhibition. The photographs were hung on the gallery’s permanent walls.

Produced on the occasion of Michael Stevenson’s 2006 exhibition, Art of the Eighties and Seventies at the Städtisches Museum Abteiberg, Mönchengladbach, referencing both Hans Hollein’s postmodern design of the museum and the 1978 Tehran gallery exhibition ‘Gold Bricks’, on short display during the outbreak of the revolution – a sculptural work by Armenian artist Zadik Zadikian which disappeared without a trace through looting. This exhibition was the first and only show of a gallery that Toni Shafrazi, who later became successful in New York, opened in Tehran in 1978.

Produced on the occasion of Jutta Koether’s exhibition Fantasia Colonia at the Kölnischer Kunsteverin, Köln 26 May–13 August, 2006 and Kunsthalle Bern, 19 January–11 March, 2007.

Texts by Diedrich Diederichsen, Isabelle Graw, Martin Prinzhorn, Michael Kerkmann and a conversation with Jutta Koether, Sam Lewitt and Eileen Quinlan.

Bob Nickas’ review of the Kölnischer Kunsteverin exhibition can be found here.

Mathias Poledna’s artistic practice is informed by historical research, archives and collections. His film Western Recording shows a recording session in the legendary Studio 3 at United Western Recorders, a studio that has remained largely unchanged since the early 1960s because of its special sound. From the multiple referential fields alluded to by this setting, as well as the inherent tension between its current function and historical significance, Poledna creates a hybrid historical constellation that combines a reinterpretation of the 1969 song “City Life” along with the appearance, the habitus, and the performance of the musicians.

Designed by Mathias Poledna.