Produced on the occasion of Roulette, a multi-year sculpture project in Leidsche Rijn, Utrecht by Manfred Pernice, where a collection of sculptures from the Municipality of Utrecht’s collection was temporarily displayed on the Koehoornplein roundabout.

A monograph on the work of Jiří Kovanda, on which Markéta Stará writes about the book’s production: “(Kovanda’s) aim to dissolve the line between art and life brings him to manipulate familiar objects from the outside world and incorporate them into works that, outside of the gallery context (and sometimes even within it), could easily be overlooked. This near invisibility resonates with Kovanda’s efforts to escape artistic trends and avoid any reductive framing. Although it could be argued that his oeuvre hovers on the border between kitsch and high aesthetics, his goal is to test the possibility of their equivalence and thus to deconstruct the distinction between art objects and utilitarian objects. It is exactly this endeavor that brought Kovanda to use the occasion of the publication of a catalogue to transform the book into an art object and make it the subject of his latest exhibition.”

A monograph on the work of Jiří Kovanda, on which Markéta Stará writes about the book’s production: “(Kovanda’s) aim to dissolve the line between art and life brings him to manipulate familiar objects from the outside world and incorporate them into works that, outside of the gallery context (and sometimes even within it), could easily be overlooked. This near invisibility resonates with Kovanda’s efforts to escape artistic trends and avoid any reductive framing. Although it could be argued that his oeuvre hovers on the border between kitsch and high aesthetics, his goal is to test the possibility of their equivalence and thus to deconstruct the distinction between art objects and utilitarian objects. It is exactly this endeavor that brought Kovanda to use the occasion of the publication of a catalogue to transform the book into an art object and make it the subject of his latest exhibition.”

A monograph on the work of Jiří Kovanda, on which Markéta Stará writes about the book’s production: “(Kovanda’s) aim to dissolve the line between art and life brings him to manipulate familiar objects from the outside world and incorporate them into works that, outside of the gallery context (and sometimes even within it), could easily be overlooked. This near invisibility resonates with Kovanda’s efforts to escape artistic trends and avoid any reductive framing. Although it could be argued that his oeuvre hovers on the border between kitsch and high aesthetics, his goal is to test the possibility of their equivalence and thus to deconstruct the distinction between art objects and utilitarian objects. It is exactly this endeavor that brought Kovanda to use the occasion of the publication of a catalogue to transform the book into an art object and make it the subject of his latest exhibition.”

Produced on the occasion of the exhibition Speaker Receiver at Kunsthalle Basel, Basel, 17 June–29 August, 2010.

This monograph brings the diverse aspects of Davey’s work together. It features “Index Cards”, a new piece of writing by Davey, in which she reflects on subjects such as a recent illness, her personal mapping of Paris and her habit of reading newspapers. Rather than formulating a systematic argument, the essay unfolds in a series of short “takes” or fragments.

Photographs distributed in order of their appearance within the texts interrupt the various writers’ contributions. Furthermore, for Davey’s own essay, and for the interview, the artist chose to reproduce her photographic “Mailers”, a unique series and format of work that Davey likes to refer to simply as “mail art”.

Featuring the work Wenn alle Künste untergehn, die edle Kochkunst bleibt bestehn, 1969

*Please note these items are secondhand and have some traces of previous ownership.