Published to accompany the exhibition LEAPS JUMPS AND BUMPS, this flip book focuses on one of Sturtevant’s more recent works, Finite Infinite (2010), a large scale projection that features a dog running in an endless loop across an expanse of grass. Finite Infinite, like many of Sturtevant’s video works, references the endlessly repeating imagery that has become so prevalent in the world we live in today. Looping and repetition, key themes throughout Sturtevant’s practice, are also elegantly drawn out in the insightful text by Daniel Birnbaum included in this book.

Produced on the occasion of the exhibitions at Palacio de Velázquez, Museo Nacional Centro de Arte Reina Sofía, Madrid, 8 November, 2012–15 April, 2013 and Kunsthaus Graz, Universalmuseum Joanneum, Graz, 7 June–1 September, 2013. With texts by Eva Badura-Triska, Archiv HZ, Jürgen Bock, Achim Hochdörfer, Andrew Renton and Gertrud Sandqvist.

Produced on the occasion of the exhibition Ludzie z podziemia (The Men from the Underground) curated by Kasia Redzisz and presented by Open Art Projects, Otwock.

“The men from the underground are allergic to social positivism and utilitarianism. They abhor humans who aspire to physical health, labour and reasonable material wealth. They see themselves as the enemy of this. Without realising it, they rule over a subterranean kingdom.” Jos de Gruyter & Harald Thys.

A reissue of Ralph Manheim’s translation of Handke’s 1986 novel Repetition, previously out of print for a quarter of a century.

“In Repetition, Handke allows the peculiar light which illuminates the space under a leafy canopy or a tent canvas to glisten between words, placed here with astounding caution and precision; in doing so, he succeeds in making the text into a sort of refuge amid the arid lands which, even in the culture industry, grow larger day by day.” W. G. Sebald

Produced on the occasion of the exhibition Documenting Cadere, 1972–1978, MuZEE, Oostende, 2 March–2 May, 2013, curated by Lynda Morris.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

You can see Lynda Morris talking about Cadere here.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition Sherrie Levine at Simone Lee Gallery, London, 28 November, 2012–5 February, 2013.

Sherrie Levine rose to prominence as a member of the Pictures Generation, a group of artists based in New York in the late 1970s and 1980s whose work examined the structures of signification underlying mass-circulated images, and, in many cases, directly appropriated these images in order to imbue them with new, critically inflected meaning. Since then, Levine has created a singular and complex body of work in a variety of media that often explicitly reproduces artworks and motifs from the Western art-historical canon as well as non-Western cultures.