Dancing Horizon is a comprehensive collection of the photographic work of Icelandic artist Sigurdur Gudmundsson, focusing on a critical period in his development. In the 1970s Gudmundsson made a famous series of conceptual photographs he called Situations, in which the artist is posed with various props–for example, balancing a wooden slat on his head to make visual contact with the horizon in the background, or digging himself into the grass.

Signed by the artist.

Here, in a new work by the author of The Dark Object, a series of tense and violent short stories are intertwined to form a narrative whole – a collection, with a twisted narrative structure, that parodies the form of a novel.

When the protagonist, the dysfunctional Reality Flickers, meets the psychotic Heart Beast (aka the fucker), death, sex and sculpture collide in the stories that form The Fabricator’s Tale.

Palmer’s misanthropic characters are embedded within their own obsession with objects, exposure, voyeurism, and the sexualised abuse of power. They appear to exist in a highly dysfunctional world, that parodies, and replicates both the conditions of art, and its place in contemporary society.

Documenting objects from the collection of Derek Jarman, produced on the occasion of the exhibition Derek Jarman: A Void at Chelsea Space, London, 29 January–15 March, 2014. Derek Jarman was an English artist and filmmaker, best known for his avant-garde art films and also renowned as a set designer, gardener, author and gay rights activist.

Produced on the occasion of the exhibition Ronald Jones: 1987–1992, at the Grazer Kunstverein, 27 September–23 November 2014, curated by Jason Dodge and Krist Gruijthuijsen. With texts by Ronald Jones, Peter Halley and Angie Keefer.

Rosemarie Trockel is widely regarded as one of the most important and influential conceptual artists in Germany. Her sculptures, collages, ceramics, knitted works, drawings and photographs are noted for their subtle social critique and range of subversive, aesthetic strategies—including the reinterpretation of “feminine” techniques, the ironic shifting of cultural codes, a delight in paradox, and a refusal to conform to the commercial and institutional ideologies of the art system.

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

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