A video catalogue of the exhibition CONTINENTAL DRIFT (Conceptual Art in Canada: The 1960s and 70s) at Badischer Kunstverein, Karlsruhe, Germany, 19 April – 8 September, 2013. It was then compiled and *extremely compressed* into 24 minutes and 1 second by Dexter Sinister. The video is in English with an accompanying German transcript in this booklet. CONTINENTAL DRIFT was the first major survey of conceptual art in Canada, to be presented in Europe. It followed the emergence of local, hybrid practices and global networks within the context of the 1960s and 70s economic, social, and technological revolutions.

Produced on the occasion of Liam Gillick’s exhibition 1 Rue Gabriel Tarde, Sarlat-La-Canéda, Dordogne at Micheline Szwajcer Gallery, Antwerp, 21 March–18 April, 2015.

Liam Gillick is known for contributions in sculpture, video, architecture and text. His work focuses on contemporary management of labor, time, and aesthetics extended through a distinctive conception of exhibition as a medium in its own right. His work is divided between abstraction based on social and political structures of the present and texts, films and graphics that often appear to contradict and comment upon the apparent clarity of his structures.

Heimo Zobernig’s contribution to the Venice Biennial responded directly to the existing exhibition situation in the Austrian Pavilion, built in 1934 based on plans by Josef Hoffmann and Robert Kramreiter. The Pavilion’s structure, with its rounded classical arches and majestic visual axes, on the one hand, and clear, rational forms and modern construction materials, on the other, moves between the poles of historicism and modernism. At the same time, Zobernig’s intervention connected inside and outside, to create an enclosed site where one can linger and reflect on human presence in space.

Edited by Yilmaz Dziewior.

Body Starting to Change is a conversation on music between two artists. When in 1960s despite the official ban foreign radio stations gained in availability within USSR, the newscasts and political comments broadcasted by them became an important part of alternative education. Musical programmes were of no less or perhaps of even more importance as they exposed the vitality of youth culture (or subculture) behind the Iron Curtain. Deimantas Narkevičius shares his musical experiences with Elena Narbutaitė, starting with this period of ‘catching waves’ and continuing until 1993, when the introduction to the London music scene became the turning-point (sooner or later experienced by many) in the artist’s relationship to the changing urban culture. The publication includes watercolours by Elena Narbutaitė, the reproduction of the cover of Satori, an album by Flower Travellin’ Band, stills from July 20, 2015, the (then) new film by Deimantas Narkevičius, and graphics by Mark Geffriaud.

Published as part of the XII Baltic Triennial. Designed by Julie Peeters.

Produced on the occasion of the exhibition Jack Smith at The Modern Institute, 14–20 Osborne Street, Glasgow, 24 January–24 March, 2015.

Jack Smith (1932–1989) was a central figure in the cultural history of downtown New York film, performance, and art. He began producing work in the late 1950s and became one of the most accomplished and influential artists working in the 1960s, 70s, and 80s. Inspired by 1960s subcultures of New York, underground film and experimental performance, Smith created a fantastical world fiction around his disgust with contemporary American consumer culture and a fascination with faux-Hollywood, as well as Orientalist exoticism. Through his own artistic and personal exploits, Smith developed a truly eccentric and captivating persona. Over the course of three decades, he transformed downtown New York into a theatrical environment for his ventures in film and photography.

Ship of Fools / The Dockers’ Museum is the project on which the US artist and writer Allan Sekula worked during the last three years of his life. The work consists, first, of a corpus of thirty-three framed photographs and two slide projections of in total over one hundred images, all made by the artist (Ship of Fools); second, it contains a gigantic collection of various objects, graphic images, postcards, and prints which the artist purchased, mostly online (The Dockers’ Museum). Sekula dedicated this work to both historical and contemporary labor solidarity in and around the docks.