Produced on the occasion of the exhibition You’re a nice guy to let me hold you like this at Greengrassi, London, 4 September–24 October, 2015.
Eva is a hot mess. When her promising art career in New York takes a plunge, she enters rehab and finds sobriety-but not peace of mind. She escapes to Europe and loses herself in one hook up after another using Bangly, the newest dating app. She meets a run-of-the-mill Finnish curator and thinks it’s love. Or is it just wanderlust?
God, I Don’t Even Know Your Name by Andrea McGinty is the third installment of New Lovers, a series of short erotic fiction published by Badlands Unlimited. Inspired by Maurice Girodias’ legendary Olympia Press, New Lovers features the raw and uncut writings of authors new to the erotic romance genre. Each story has its own unique take on relationships, intimacy and sex, as well as the complexities that bedevil contemporary life and culture today. These paperback editions pay homage to the classic covers of the Olympia Press novels. The “soft-touch” lamination and embossed lettering on the front covers make these novellas a precious edition to any library.
Produced on the occasion of Hanne Darboven: Enlightenment the first major retrospective after the artist’s death brings together key works from all phases of her prolific work. Collaboratively organised by and simultaneously presented at the Bundeskunsthalle in Bonn and Haus der Kunst in Munich.
This major publication brings together key works from all phases of her prolific career spanning over fifty years. It highlights the outstanding and wide-ranging output of this key conceptual artist in its entire temporal and stylistic breadth, featuring works in which the artist focuses on political events, German history and her personal context and shows the extensive work series exploring themes from cultural history, music, literature, and (natural) science.
A video on the exhibition can be seen here.
Published to coincide with Hopf’s exhibitions A Line May Lie, at Kunsthalle Lingen and Testing Time at Studio Voltaire, 2013. Includes essays by Meike Behm and Joe Scotland.
Hopf’s work focuses on how our social environments shape us, influence us, and by extension thereby exclude us from ourselves. Hopf uses a wide variety of techniques such as sculpture, installation, film and performance, often engaging subjects and materials that can be found in the immediate environment.
Designed by HIT.
Produced on the occasion of Continuous Moment: Trans-Company, The Other Side, 9 February–17 April, 2015.
Continuous Moment: Trans-Company 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: Trans-Company can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.
Text by Nik Papas. Designed by Warren Taylor.
Eva Olthof’s book takes as it’s starting point the American Memorial Library in Berlin (Amerika-Gedenkbibliothek), which opened in 1954, and two books, which were returned after 50 years, accompanied by a handwritten personal letter. The library was a gift from the American people to the population of West Berlin after enduring the Berlin Blockade, promoting the “illimitable freedom of the human mind”, as it reads in a quote on the library’s wall from US President Thomas.
The book brings together the charged political history of this library, and the recent events connected to the revelations of NSA files by Edward Snowden.
Contributions by Doreen Mende, Eva Olthof, Eben Moglen