Produced on the occasion of Tomo Savić-Gecan’s exhibition Untitled, 2010 at Bergen Kunsthall, 8 October–22 December, 2010, curated by Elena Filipovic.

Tomo Savić-Gecan constructs artworks that literally exist between present and future, here and there, between one public space and another, and between the minds of a viewer, wherever they might be, and the institutional space of the exhibition, which might happen to be somewhere else. For instance, as when he devised a situation so that visitors to an exhibition about the theme of “economy” were asked to decide on the entrance price for the visitor that would enter immediately after him or her (Untitled, 2000). Or as in his piece shown in Venice for the 2005 Biennale, where a line of text on an exhibition space’s wall recounted that the number of visitors at that very moment entering an art centre in Amsterdam was impacting the temperature of a public pool in Tallinn (the pool having been programmed to receive the real time information and alter its temperature in relation to it), (Untitled, 2005).

Designed by Manuel Raeder and Manuel Goller.

More information on the project can be found here.

“Film as essayistic collage is central to Steyerl’s works. She combines her own recordings with scenes from Hollywood movies and documentary material in various works, operating within different rhythms and time intervals. Her films criticize an understanding of the documentary image as a bearer of history and authenticity and as an object of empathy and identification.In a time where imagery travels, is being reinterpreted, used and distributed more quickly than ever before, the image as document has lost its apparent authority as a witness.”

Introduction by Tone Hansen. Essays by Pablo Lafuente, Hito Steyerl and Maria Muhle.

Continuous Moment: Le Desir… is part of Bertoli’s ongoing research and investigation into Picasso’s play Le Désir Attrapé par la Queue (Desire Captured by the Tail). Referring to both a 1944 reading of the play and a staging of the play in 1967 by Jean Jacques Lebel, Bertoli’s work addresses ideas of repetition, reprise and continuity. Like Picasso’s text and Lebel’s production, Bertoli draws on a vast network of references and influences. In this light,Continuous Moment: Le Desir… can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.

Text by Chris Sharp. Designed by Warren Taylor.

Twice a year, The Institute of Social Hypocrisy publishes a fanzine. These publications serve as a tool with a dual purpose. Primarily they are a means to put out developing art projects by a range of invited artists and contributors, throughout the duration of the Institute project.

These fanzines are neither publications for reference, nor books of completed projects. They are a means for artists to put their work in front of new audiences in order to invite input and discussion, thus helping the project to develop. They allow the artist to take a level of control and give a certain independence with regards to the traditional scope of the distribution of their work.

The publication was produced as part of the exhibition High Level Margins With a Catalogue at Kunstverein, Amsterdam by Nedko Solakov, 18 September–21 November 2010 and served as a reading device for the stories displayed on and around the margins of Kunstverein’s 3.5m high ceiling.

Invitation card produced on the occasion of the exhibition Anne Truitt at Matthew Marks Gallery, New York, 8 May–26 June, 2010. With an insert that contains a selection of Anne Truitt’s writing.