Produced on the occasion of the exhibition Marc Camille Chaimowicz at Overduin and Kite, Los Angeles, 26 April–30 May, 2009.

Paul Sietsema is an artist deeply engaged in the act of looking. For his third and newest project, Figure 3 (2008), Sietsema takes as inspiration the ethnographic objects that he has collected from various locations, including Africa, Indo-Asia, and the South Pacific region of Oceania. Situating Figure 3 in the broader context of Sietsema’s work of the past ten years, this far-ranging volume explores the artist’s unique approach to looking as well as the relationships among his drawings, object-making, and film. With an essay by Cornelia Butler and interview by Bruce Hainley.

With illustrations by Nairy Baghramian, Julian Göthe, Shahryar Nashat, Henrik Olesen, Danh Vo.

Dominic Eichler (born 1966 in Ballarat, Australia, lives and works in Berlin) is an art critic, artist, musician, curator, and co-founder of the contemporary art space Silberkuppe. He is also a contributing editor of Frieze. In 2005 he was awarded the AdKV Prize for Art Criticism. In 1999 he co-founded the pop band Dominique, which has released three albums.

The first overview of the variety and scope of the research carried out by Renée Green over the past twenty years. Green’s work is located both within the legacy of the most ambitious achievements of Conceptual and post-Minimal art, and within a post-colonial critique of culture. It often takes the form of complex, multi-layered archive-like installations that employ a vast array of sources, and point to a variety of issues, always involving the spectator as active participant through multiple points of access.

Texts by Nora Alter, Diedrich Diedrichsen, Renée Green, Kobena Mercer, Catherine Quéloz, Juliane Rebentisch, Gloria Sutton, Elvan Zabunyan.

Edited by Hans Ulrich Obrist, Julia Peyton-Jones, Beatrix Ruf. Texts by Will Bradley, Stuart Comer.

A central figure in Glasgow’s vibrant art scene, Luke Fowler’s cinematic collages break down conventional approaches to biographical and documentary filmmaking. Fowler’s films have often been linked to British Free Cinema, the distinctive aesthetic of which came out of a conscious decision to engage with the reality of contemporary Britain in the 1950s. Avoiding didactic voice-over commentaries and narrative continuity, Fowler similarly uses impressionistic sound and editing. However, Fowler moves beyond simply referencing the work of his predecessors. Intuitively applying the logic, aesthetics, and politics of his subjects onto the film he is making about them, he creates atmospheric, sampled histories that reverberate with the vitality of the people he studies.

This publication is dedicated to pioneering curators and presents a unique collection of interviews by Hans Ulrich Obrist: Anne d’Harnoncourt, Werner Hofmann, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten, and Harald Szeemann are thus gathered in this volume.

The contributions map the development of the curatorial field, from early independent curating in the 1960s and 1970s and the experimental institutional programs developed in Europe and in the USA at this time, through Documenta and the development of biennales.

With texts by Daniel Birnbaum, Christophe Cherix and Hans Ulrich Obrist.