Maria Eichhorn Aktiengesellschaft began its life in December 2002, as both a corporation and a work of art. Upon an invitation to participate in Documenta 11, Maria Eichhorn founded an Aktiengesellschaft, or public limited company. As is typical of such entities, the newly created firm was in her own name. It held a 50,000 euros portion of Documenta’s exhibition budget—divided into 50,000 shares of a euro apiece—meeting the minimum requirement of subscribed capital for an Aktiengesellschaft.

Maria Eichhorn Aktiengesellschaft mimetically uses the structure of the corporation against itself. The artist remains its sole managing board member and initial shareholder; she transferred all shares of the company to itself, to be held in perpetuity. The corporation belongs to itself, or, in Eichhorn’s words, “it ultimately belongs to no one,” and “the concept of property disappears in this case.”

More information can be found on the work here.

Poster/invitation produced on the occasion of exhibition Roma Publications, 1998–2007, 7–24 November, 2007 at The Narrows, Melbourne.

Roma Publications is an Amsterdam based art publisher, founded in 1998 by graphic designer Roger Willems, and artists Mark Manders and Marc Nagtzaam. It is used as a platform to produce and distribute autonomous publications made in close collaboration with a growing number of artists, institutions, writers and designers. Related to the content, every issue has its own rule of appearance and distribution, varying from house to house papers to exclusive books.

Poster/invitation produced on the occasion of Experimental Jetset’s exhibition Posters, 13 July–4 August, 2007 at the Narrows, Melbourne.

Experimental Jetset is a small, independent, Amsterdam-based graphic design studio, founded in 1997 by (and still consisting of) Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, and describing their methodology as “turning language into objects”, Experimental Jetset have worked on projects for a wide variety of institutes.

More information on the exhibition can be found here.

This book brings together the first complete survey of projects by the young Czech artist Katerina Sedá (*1977). The artist’s book is in the form of a box containing 10 folders which document each project (diagrams, graphs, drawings, texts, photographs, questionnaires) that Sedá carried out from 1999–2007.

Katerina Sedá bases her work on the observation of “invisible” contexts and social relationships between individuals in her most immediate surroundings—within her family and her birthplace, Ponetovice, a village in the Moravian countryside. The observations she makes (in the form of drawings, texts, and diagrams) then prompt a series of assignments, tasks, and games which she carries out in those surroundings. For example, her “society game” called “Nic tam není” [There’s Nothing There] (2003), involved the participation of all the inhabitants of Ponetovice. Based on observations she made, she created a universal “Regime for a Day”—an ordinary Saturday in a Moravian village. After cajoling her fellow villagers for some time, she was able, one Saturday, to get them to synchronise all their activities according to the regime she devised for the day, doing all the same things at the same times throughout the day. Katerina Sedá also collaborated on several projects with her grandmother. In “It Doesn’t Matter” (2005), her grandmother created several hundred drawings from memory, documenting the objects she had sold at the household goods shop where she’d worked her whole life. Sedá’s latest project was exhibited at Documenta XII.

Fourth volume of the series “Tranzit,” edited by Vít Havránek and focusing on Central and Eastern European artists.

Published on the occasion of the exhibition Shandyismus, Autorschaft als Genre curated by Helmut Draxler, Secession, Vienna, 22 February–15 April, 2007.

The exhibition Shandyismus. Autorschaft als Genre refers to Laurence Sterne’s novel The Life and Opinions of Tristram Shandy, Gentleman from the 18th century. It will focus on Shandyism as a phenomenon or position, reflecting the diversity of points of contact with the media. A number of existing art works will be shown that express the methodological idiom of Shandyism. At the same time, artists have been invited to develop a “Shandyesque intervention” for the exhibition.

Artists: Monika Baer, Georg Baselitz, Bernadette Corporation, Max Bill, Marcel Broodthaers, Marcel Duchamp, Jack Goldstein, Gareth James, Sergej Jensen, Chuck Jones, David Jourdan, Jutta Koether, Louise Lawler, Olia Lialina und Dragan Espenschied, Robert Frank, Martin Kippenberger, Michael Krebber, Christian Philipp Müller, Michael Schuster, Josef Strau, Franz West sowie , Diedrich Diederichsen, Michael Dreyer, Clemens Krümmel, Franz Reitinger, Drehli Robnik, André Rottmann, Astrit Schmidt-Burkhardt, Tanja Widmann.

Texts: Diedrich Diederichsen, Helmut Draxler, Michael Dreyer, Clemens Krümmel, Shaun Regan, Franz Reitinger, Drehli Robnik, André Rottmann, Astrit Schmidt-Burkhardt, Peter de Voogd, Tanja Widmann.

This volume assesses a wonderful body of work that encompasses installations, films, artist’s books and specimens from the artist’s vast archives of ephemera. Like Marcel Broodthaers and Susan Hiller, Bloom has a creative attraction toward taxonomy and museology: the installation “Greed” (1988), for instance, is comprised of a chair, an empty frame and a photograph of a museum gallery with a seated guard. An example of one of her own collections is a complete set of Vladimir Nabokov’s writings for which Bloom redesigned all of the book covers, referring both to herself and Nabokov as collectors (he obsessively collected editions of his own books) and in the process interposing herself as artist. In some cases, Bloom revisits previous installations to add new elements, resisting and upsetting the orderliness of a conventional artistic chronology. The Collections of Barbara Bloom includes essays by Dave Hickey and Susan Tallman and expands a project developed as part of Bloom’s Wexner Art Center Residency Award in 1998.