Florian Pumhösl processes the tropes of art, architecture and graphics of the modernist avant-garde to create new aesthetic systems through painting, film and installation. He addresses the legacy of modernism through its canon of abstract visual language, from utopian architectural plans and buildings to innovations in publishing, the politics implicit in exhibitions and the motifs of early experimental filmmaking.

This particular body of work furthers the artist’s involvement with cartography and territorialization. The reliefs originate from stamp drawings of simple linear and rectangular progressions, and are made by pouring plaster into silicone molds; however, the initial forms are hand-constructed, and the final works hand-painted.

Designed by Martha Stutteregger.

Produced on the occasion of Jochen Lempert’s exhibition Plant Volatiles at BQ, Berlin in 2016.

“While factual science will never be able to embrace the enchantments of nature, Lempert’s photographs meet up with them when showing swarms of animals, where individuals dissolve and become part of a new form, or when picturing insects as foreign bodies within a context they do not belong to and the coherence of which they irritate. As frozen ephemeral appearances breaking up not only the formal coherence of the image but also its meaning and representational function, they are symbols of time and of the ever impenetrable secret of all living.”—Mousse magazine review, available here.

A Bell is a Cup was first published in 2012 to coincide with the exhibition “Impressionism” by Matt Connors, held at MoMA PS1, New York and in 2013 was awarded in the inaugural Most Beautiful Books—Australia & New Zealand (MBBANZ), nominated for Artist Book of the Year in Rob Pruitt’s Art Awards, and in 2014 received the Förderpreis in the Walter Tiemann Prize presented by Verein zur Förderung von Grafik und Buchkunst Leipzig.

The second edition is printed at 90% scale of the first edition, has sixteen new dust jacket/cover combinations and still includes texts by Peter Eleey, Michel Leiris, Gertrude Stein and Jack Spicer, alongside the first comprehensive gathering of Connors’ work to date (as of 2012).

Designed by Sinisa Mackovic & Robert Milne.

A Bell is a Cup was first published in 2012 to coincide with the exhibition “Impressionism” by Matt Connors, held at MoMA PS1, New York and in 2013 was awarded in the inaugural Most Beautiful Books—Australia & New Zealand (MBBANZ), nominated for Artist Book of the Year in Rob Pruitt’s Art Awards, and in 2014 received the Förderpreis in the Walter Tiemann Prize presented by Verein zur Förderung von Grafik und Buchkunst Leipzig.

The second edition is printed at 90% scale of the first edition, has sixteen new dust jacket/cover combinations and still includes texts by Peter Eleey, Michel Leiris, Gertrude Stein and Jack Spicer, alongside the first comprehensive gathering of Connors’ work to date (as of 2012).

Designed by Sinisa Mackovic & Robert Milne.

A Bell is a Cup was first published in 2012 to coincide with the exhibition “Impressionism” by Matt Connors, held at MoMA PS1, New York and in 2013 was awarded in the inaugural Most Beautiful Books—Australia & New Zealand (MBBANZ), nominated for Artist Book of the Year in Rob Pruitt’s Art Awards, and in 2014 received the Förderpreis in the Walter Tiemann Prize presented by Verein zur Förderung von Grafik und Buchkunst Leipzig.

The second edition is printed at 90% scale of the first edition, has sixteen new dust jacket/cover combinations and still includes texts by Peter Eleey, Michel Leiris, Gertrude Stein and Jack Spicer, alongside the first comprehensive gathering of Connors’ work to date (as of 2012).

Designed by Sinisa Mackovic & Robert Milne.

Exhibition booklet produced on the occasion of the exhibition Tetsumi Kudo: Retrospective, curated by  Susanne Pfeffer, Fridericianum, 25 September 2016–1 January, 2017.

Bottled humanism, coloured neon contaminations, tattered flaps of skin, and limp penises bring humanist self-assurance crashing to the ground. What appears as poison or chemical devastation is in fact an appeal to understand metamorphosis as a state of being. Over a period of three decades (from the mid-1950s to the late 1980s), Tetsumi Kudo created a consistent body of work that serves as a model for contemporary conceptual approaches. The Fridericianum presented the first comprehensive retrospective exhibition of the Japanese artist’s work in Germany. This pamphlet also serves as the gallery guide for Loretta Fahrenholz’s exhibition, Two A.M. Designed by Zak Group.