Rereading Appropriation reconsiders the artistic strategy of appropriation through later elaborated theories of affect, to explore how an understanding of ‘reciprocal investment’ reconfigures appropriation as an act that is based in connecting, acknowledging and being porous to material. Rereading Appropriation compiles texts read in the sister reading groups of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution during its Edition V – Appropriation and Dedication (2013–2014).

Published on the occasion of Daniel Gustav Cramer’s exhibition Coasts, as part of Art Basel Parlours, 2016. Curated by Samuel Leuenberger.

Coasts, a sound installation placed in the first-floor rooms of a townhouse currently undergoing renovation, is Cramer’s first presentation of his archive of recordings taken in various coastal regions spanning the continents from Darwin, Australia to Ericeira, Portugal to Santa Monica, California. The architecture of the building creates a purely individual experience for the visitor who can listen to a singular recording or, by walking through the spaces, experience the overlap of a multitude of recordings.

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.