In this post-truth era, how does one navigate the endless information available and choose a viable narrative of reality? In How to Know What’s Really Happening Glasgow-based writer and curator Francis McKee looks at various techniques for determining verity, from those of spy agencies and whistle-blowers to mystics and scientists.

Francis McKee is an Irish writer, medical historian, and curator working in Glasgow where since 2006 he has been the director of the Centre for Contemporary Arts, and is a lecturer and research fellow at Glasgow School of Art. McKee has worked on the development of open-source ideologies and their practical application to art spaces.

Designed by Julie Peeters and Valerie Arif.

In this post-truth era, how does one navigate the endless information available and choose a viable narrative of reality? In How to Know What’s Really Happening Glasgow-based writer and curator Francis McKee looks at various techniques for determining verity, from those of spy agencies and whistle-blowers to mystics and scientists.

Francis McKee is an Irish writer, medical historian, and curator working in Glasgow where since 2006 he has been the director of the Centre for Contemporary Arts, and is a lecturer and research fellow at Glasgow School of Art. McKee has worked on the development of open-source ideologies and their practical application to art spaces.

Designed by Julie Peeters and Valerie Arif.

Produced on the occasion of the exhibition Giorgio Griffa at Fondation Vincent van Gogh Arles, from 13 February–24 April 24, 2016.

The art of the italian artist Giorgio Griffa developed quietly and with impressive coherence outside the latest movements broadly outlined on the contemporary scene. At the beginning of his career Griffa nonetheless associated himself with the representatives of Arte Povera, with whom he exhibited on numerous occasions in the 1960s and 1970s. His simultaneously “minimalist” painting also displayed an affinity in particular with the group Supports/Surfaces in France.

With texts by Bice Curiger, Giorgio Griffa, Francesco Manacorda.

Speechless, a new work by the Rotterdam-based artistic duo Bik Van der Pol (Liesbeth Bik and Jos Van der Pol), is a multilayered exploration of how we speak about the precarious state of the natural world. The work consists of a custom-built aviary, which houses four parrots taught to mimic phrases from T.S. Elliot’s seminal 1922 poem, The Waste Land, comparing landscape devastated by war to the ecological devastation of today. The aviary is furnished with a jumble of sculptural letters that spell out the terms “global warming,” “climate change,” and “sustainability.” Part poetic gesture and radical expression, Speechless addresses the power of language within political contexts, and our ability to understand and discuss environmental degradation. The work was inspired, in part, by recent debate in Florida’s state government regarding the use of controversial terms such as “climate change” and “global warming.”

You can see a video on the work here.

With the modular work documentation Folder, Annaïk Lou Pitteloud presents for the most  comprehensive publication on her artistic work to date. It is is preceded by the two sub-publications Mappe and Dossier. As catalogues for the solo exhibitions at the Kunstmuseum St. Gallen and the Musée cantonal des Beaux-Arts in Lausanne, they contain different compilations of the artist’s works that are related to the respective exhibitions and thus illustrate the basic idea of the present modular documentation of works. Files on all the artist’s works are created according to a strict grid. Separated by type of content, titles, descriptions of works, notes, documentary images and texts are compiled. Reproductions of drawings and reprints of printed matter used in the exhibitions complete the collection.

With texts from Maziar Afrassiabi, Bethan Huws, Nicole Schweizer, Madeleine Amsler, Hans Rudolf Reust, Steve Van den Bosch, Barnaby Drabble, Marie-Eve Knoerle, Federica Martini, Nadia Veronese, Pavel Büchler.

Produced on the occasion of the artist’s exhibition at the Musée cantonal des Beaux-Arts in Lausanne.

The two publications Mappe and Dossier represent two different monographic compilations of works by the artist Annaïk Lou Pitteloud and appear as catalogues to the solo exhibitions at the Kunstmuseum St. Gallen and the Musée cantonal des Beaux-Arts in Lausanne. The concept for the two publications was developed with these exhibitions in mind, but will be continued in the third, comprehensive edition Folder. The basic idea of all three publications is that of a modular documentation of works. Dossiers on all of the artist’s works are created according to a strict grid. Separated by type of content, titles, descriptions of works, notes, documentary images and texts are compiled. Reproductions of drawings and reprints of printed matter used in the exhibitions complete the collection.