In the spring of 2015, Magali Reus opened the first in a series of four exhibitions of new work co-commissioned and presented by SculptureCenter, New York; Hepworth Wakefield, England; Westfälischer Kunstverein, Münster, Germany; and Fondazione Sandretto Re Rebaudengo, Turin, Italy. The culmination of these collaborative projects is documented in this publication, marking an important chapter in the evolution of Reus’s work.

Renowned for her interest in the relationship between mass-produced articles and the human body in the context of today’s digital society, Magali Reus draws on a vast range of formal influences and references, from the domestic to the industrial, the functional to decorative, creating pieces that evolve as an accumulation and layering of sculptural details. For her, objects like fridges, padlocks, seating, and street curbs are not seen only as facilitators of our everyday actions, but also as physical receptacles for our bodies.

University Construction was a one-day exhibition by David Homewood and Bronté Lambert. It was held in a sixth floor classroom in the west tower of the John Medley Building at the University of Melbourne. The exhibition was open from 11am to 7pm on the 23 June, 2015, and included a variety of readymade, found and modified objects—many sourced from the university campus—presented in geometric configurations on the classroom floor, accompanied by a printed flyer and information sheet.

In mines and ports across the world, human labor sustains our industrial and globalized economies. Allan Sekula imagined and set out to realize an artwork, The Dockers’ Museum, which makes the struggles of miners, dockworkers, and seafarers visible through networks of metonymic objects that embody these workers’ imaginaries. The collaborative notes gathered in this publication accompany the presentation of the Mining Section (Bureau des mines) of The Dockers’ Museum at the Anatomical Theater in Leuven in the Fall of 2016.

Amateur is the first comprehensive publication about Wendelien van Oldenborgh‘s moving image works, and their accompanying installations. Developed over the past ten years of her practice, Wendelien van Oldenborgh’s works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories. Through the staging of these encounters on film, van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions.

Designed by Julia Born.

Hans de Vries concentrated on the study and registration of processes and appearances that occur in and are created by nature. De Vries was a close observer, an onlooker, an eyewitness, whose aim was to discern and document the relationship between man and his natural environment. His practice has been referred to as “micro-emotive art”, a term coined by the Italian artist Piero Gilardi. Hans de Vries Works 1968–1975 is De Vries’s first exhibition since he stopped producing art at end of the 1970s. It is a retrospective of all the publications and book-related works including parallel articles and essays about his practice.

Universities and art schools alike have been subjected to the pressure of recent austerity politics and the ongoing attempt to transform higher education according to the demands of reigning neoliberals. In this context, it is urgent to conceive of alternative frameworks and methodologies of study—whether within, outside or at the margins of academic institutions. This book examines the current interest in education through a series of conversations with artists, theorists, activists and educators, including Suhail Malik, Brian Holmes, Ruth Sonderegger, Gerald Raunig, Judy Chicago, Gal Kirn, Mohammad Salemy, Melissa Gordon, Marina Vishmidt and Andrea Fraser.