Since their 2005 inception, CAConrad’s (Soma)tic exercises have been summoning the whole spectrum of human experience in the name of poetry. A Beautiful Marsupial Afternoon collects 27 new and previously published exercises and their emerging poems, incorporating unorthodox steps in the writing process from the tangible everyday to the cosmos of the imagination. Together they manifest as an urgent call for a connective, concentrated, and unfettered creativity.

Produced on the occasion of the exhibition Guy de Cointet: Tempo rubato at Fundación/Colección Jumex, 3 December, 2012–14 February, 2013.

Guy de Cointet’s oeuvre, which includes drawings, publications, performance and film, intersects many of these areas of investigation, being at once performative, conceptual, minimalist, abstract and inspired by historic events, popular culture and mass media.

This publication includes a facsimile of the script for IGLU, a play he wrote in 1977, and its translation to Spanish.

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years”—Céline Chazalviel, Revue Faire –To look at things #4, 2017

Produced on the occasion of the awarding of the Wolfgang-Hahn Prize to Henrik Olesen, 17 April–29 July, 2012 at the Museum Ludwig, Köln. With texts by Josef Strau and Carla Cugini.

Produced on the occasion of the exhibition Lynda Morris / Dear Lynda… at White Columns, New York and Chelsea Space, London, 2012.

An exhibition that considers the ongoing practice of the British curator and writer Lynda Morris. As with the term ‘artist’s artist’ there should perhaps be an additional category of ‘artist’s curators’ for which Morris would be an exemplary figure. Having worked for most of her career in regional British cities (inc. Nottingham and Norwich), Morris’ ongoing advocacy for the social realities and political necessity of art is evident in her most recent major project “Picasso: Peace and Freedom” an exhibition and accompanying book that she organized for Tate Liverpool, England, a project that considered the legacy of Picasso’s involvement in and support of the Peace movement.

Including the work of Art & Language, Gilbert & George, Andre Cadere, John Baldessari, David Lamelas (whose early works Morris appeared in), Richard Hamilton, Bernd and Hilla Becher, Marcel Broodthaers, Gustav Metzger, Stephen McKenna, Nigel Henderson, John Wonnacott, Jeremy Deller, Lucy McKenzie, Marc Camille Chaimowicz, John Stezaker, and more—White Columns press release

Produced on the occasion of Michaela Meise’s exhibition Ding und Körper 30 January–29 March, 2009 at the Badischer Kunstverein, Karlsruhe.

Michaela Meise works in the formats of video, drawing, performance and sculpture. She investigates principles of sculptural and architectural arrangement, both in terms of their creative realization and in relation to their political and social contexts. Her works make reference to aspects of a Minimalist or Post-Minimalist art which she transfers onto everyday housing- and living-spaces. With this “applied Minimalism,” Meise is able to study structures of balance, movement, rhythm or design down to the smallest details, and to connect them to moments of private remembrance.—Badischer Kunstverein press release

Designed by Heimann und Schwantes.