Edited by Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh. Texts by Max Andrews and Mariana Cánepa Luna (Latitudes), Helen Hughes, Ana Teixeira Pinto.

This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition Limits to Growth. The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun. Featuring an in-depth series of conversations between the artist and the Barcelona-based curatorial collective Latitudes, and essays by Ana Teixeira Pinto and Helen Hughes, this publication is richly illustrated with documentation of Mangan’s artworks and historical source material.

Copublished with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne. Design by Žiga Testen.

Published on the occasion of the exhibition “Behind this machine anyone with a mind who cares can enter” by Jason Dodge at IAC-Institut d’art contemporain Villeurbanne. Texts by CAConrad and Valentina Desideri. Translation by Gilles Berton.

Published by Museum Ludwig, Köln, on the occasion of We Call It Ludwig, 2016. With texts by Karlheinz Stockhausen and Jean-Marie Strauß.

This catalogue is an extension of the book Giorgio Griffa: Works 1965–2015. Published on the occasion of the cycle of exhibitions dedicated to the work of Giorgio Griffa at Centre d’Art Contemporain, Geneva; Museu de Arte Contemporanea de Serralves, Porto; Bergen Kunsthall; and Fondazione Giuliani, Rome in 2015 and 2016.

From 1967 through to his most recent works, Giorgio Griffa’s painting studies have been based upon three fundamental areas of enquiry: rhythm, sequence and sign. Griffa uses a similar protocol when creating his works on paper, which have very rarely been exhibited and have remained virtually unknown to the public. One need only look through the critical literature devoted to his work, or at the long list of solo and group exhibitions he has been involved in, to see the extent to which drawing is taken into consideration only very occasionally and marginally, even by his closest commentators. However, it seems clear from the quantity and especially the quality of these works that drawing and watercolour are not just some secondary activity for this artist, or in any way subordinate to painting. As Griffa himself points out in a recent interview with Hans Ulrich Obrist, drawing is not a ‘plan for a painting,’ even though in many cases it does provide ideas for later works. Rather, it is an autonomous aspect of his work and a kind of parallel activity to painting.

Published on the occasion of the 2017 exhibition at the Museum of Contemporary Art San Diego, 24 September, 2016–2 January, 2017), The Uses of Photography examines a network of artists who were active in San Diego between the late 1960s and early 1980s and whose experiments with photography opened the medium to a profusion of new strategies and subjects. Working within the framework of conceptual art, these artists introduced urgent social issues and themes of everyday life into that seemingly neutral territory, with photographic works that took on hybrid forms, from books and postcards to video and text-and-image installations. If photography had come to occupy a new, more prominent position in the art world of the late 1960s, largely within the context of conceptual art, much of the medium’s radical potential nonetheless remained latent.

Tracing a crucial history of photoconceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the University of California San Diego, founded in 1960, and its visual arts department, founded in 1967. Artists such as Eleanor Antin, Allan Kaprow, Fred Lonidier, Martha Rosler, Allan Sekula, and Carrie Mae Weems, to name a few, employed photography and its expanded forms as a means to dismantle modernist autonomy, to contest notions of photographic truth, and to engage in political critique. The influence of these artists is felt throughout the global contemporary art world today, yet their common roots in San Diego—a military town far removed from the art world—has rarely been acknowledged. While these artists are celebrated internationally for their individual achievements, this exhibition is the first to explore how their practices emerged at a critical time and place.

Traction argues that contemporary art is defined by a moral economy of indeterminacy that allows curators and artists to imagine themselves on the other side of power. This self-positioning, in turn, leaves us politically bankrupt, intellectually stagnant, and aesthetically predictable. In his memoir-polemic, curator and writer Tirdad Zolghadr candidly reflects on his own experiences and the work of others. He also drafts possibilities for a logic and a support structure that can offer some purchase of their own, beyond the gravitational pull of business as usual. Ultimately, Traction calls for a renewed sense of profession, somewhere within the corridors of power where, for better or worse, contemporary art has long arrived. Design by Aude Lehmann, Zurich.