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.

“God is a circle whose centre is everywhere but whose circumference is nowhere”. Circle means perfection, cyclicity, superiority of the divinity, but also instability and movement. Bruno Munari selects and describes in this little, extraordinary encyclopedia, several uses of this fascinating and mysterious form, unstable and hieratic at the same time.

Bruno Munari (24 October, 1907–30 September, 1998) was an Italian artist, designer, and inventor who contributed fundamentals to many fields of visual arts (painting, sculpture, film, industrial design, graphic design) in modernism, futurism, and concrete art, and in non-visual arts (literature, poetry) with his research on games, didactic method, movement, tactile learning, kinesthetic learning, and creativity.

Rosalind Nashashibi’s solo exhibition in Bergen Kunsthall was the largest presentation in Scandinavia so far of Nashashibi’s work and covered her most important films from recent years, as well as photographic works. Nashashibi’s films are poetic observations of everyday events. The camera dwells on the social interaction that arises in human relations where the actors seem to hesitate between simply ‘being themselves’ and playing various socially defined roles. The artist makes effective use of the cinematic qualities of 16 mm film, and consciously uses the film medium’s quality to create a fundamentally time-based experience. Despite documentary restraint, Nashashibi’s films are not documentary films. They are as much poetic film collages, coloured by a subjective camera eye where the artist’s presence is always palpable.

Publication produced on the occasion of Jef Geys presentation at the 53rd Venice Biennale, 2009, in the form of an overview of media comments compiled by Mélanie Gaillard. The show which was curated by Dirk Snauwaert, featured elements of Geys’ work from the last four decades.

For this solo exhibition in CCA, Glasgow, entitled It isnt what it used to be and will never be again (with reference to La révolution n’est plus ce qu’elle était, by Henri Lefebvre with Catherine Régulier, 1978), Bik Van der Pol have brought together works that are are hoovering around questions of information, what distribution of information might or might not set off in the public realm, and if action can, should or is tak(e)(ing) place when seemingly nothing seems to happen.

With contributions from the following writers and artists; Francis McKee, Anthony Iles, Jan Verwoert, Fiona Jardine, Neil Davids, Jon Bywater, Neil Gray, Darren Rhymes, Angelique Campens, Alexander Trocchi, Camcorder Guerillas, Sarah Pierce, Simon Yuill, Sarah Tripp and Bik Van der Pol.