Produced on the occasion of the exhibition R. H. Quaytman: An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017–28 January, 2018.

“R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices particular words, and how each is not just that one word, but other words as well. Quaytman’s paintings, organized into chapters structured in the form of a book, have a grammar, a syntax, and a vocabulary. While the work is bounded by a rigid structure on a material level—appearing only on beveled plywood panels in ten predetermined sizes derived from the golden ratio—open-ended content creates permutations that result in an archive without end. Quaytman’s practice engages three distinct stylistic modes: photo-based silkscreens, optical patterns such as moiré and scintillating grids, and hand-painted oil works. Each chapter is developed in relation to a specific exhibition opportunity, and consequently, each work is iconographically bound to its initial site of presentation.”—Miguel Abreu Gallery, New York

Produced to accompany WT Reader: Reader, aantekeningen exemplaar, 2017, edited and designed by Ronja Andersen and Nerijus Rimkus.

Featuring Moses Bruine Cotsworth and the International Fixed Calendar. Cotsworth’s. Cotsworth’s interest in calendar reform began when he was working at a railroad company and found that monthly accounting was greatly complicated by the fact that months did not divide evenly into weeks. He devised what is now known as the International Fixed Calendar, a solar calendar in which each of 13 months has 28 days.

Pied-à-terre is a space run by McIntyre Parker from 2009 – ongoing. This publication gathers texts and contributions by artists, curators, and writers who visited or worked with Pied, forming a subtle portrait of the project.

With contributions from Benjamin Ashlock, Kim Bennett, Amanda Gracia Blanco, Juliette Blightman, Alice Channer, Shannon Ebner, Anthony Huberman, Blueberry Elizabeth Morningsnow, Kim Nguyen, Josh Minkus, K.R.M. Mooney, McIntyre Parker, Scott Ponik, Lisa Radon, Nick Raffel, Sophia Rhee, Michael Snow, Jordan Stein, Diego Villalobos, Hazel White.

Offset printing by Gary Robbins, sewing and letterpress by Aaron Flint Jamison.

A both intimate and political account of the links between artistic practices and activism during the AIDS epidemic of the 1980s and 1990s in France and the United States—featuring monographic texts, interviews, and thematic essays.

This essay, written in the first person, is built around a series of monographic texts, interviews, and thematic essays, which constitutes an elective cosmology of a period of artistic and activist creativity in both France and the United States. Historian and art critic Elisabeth Lebovici discusses a variety of artists, protest organizations, artworks, and direct actions: ACT UP, “phone trees”, Richard Baquié, Gregg Bordowitz, Alain Buffard, Douglas Crimp, “political burials”, General Idea, Nan Goldin, Félix González-Torres, Gran Fury, L’Hiver de l’amour, Roni Horn, G. B. Jones, Eve Kosofsky Sedgwick, Zoe Leonard, Mark Morrisroe, William Ollander, “The Patchwork of Names”, The Real Estate Show, Lionel Soukaz, Philippe Thomas, Georges Tony Stoll, Paul Vecchiali, David Wojnarowicz, Dana Wyse, zaps…

Illustrated with numerous archives and ephemera that emphasize the importance of graphic works in the fight against AIDS, Ce que le sida m’a fait (What AIDS has done to me) is a necessary work to understand the “AIDS years”.

Produced on the occasion of the exhibition R.H. Quaytman: An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017–28 January, 2018. This text is published as an advance copy from the artist’s book R.H. Quaytman. An Evening, Chapter 32.

Józef Robakowski, a key figure of the 1960s and 1970s neo-avant-garde rebellion, is a master of structural cinema and a pioneer of Polish video art. In his practice he has tested viewers’ perceptual habits, developed ideas about mechanical recordings beyond any aesthetic convention, and criticized methods of visual persuasion in films, highlighting in particular the pompousness of political spectacles. A radical experimentalist and media analyst, Robakowski is known for his unique approach, “his own cinema,” in which autobiography replaces dubious history, and in which the artist proposes his own scenario for perceiving the reality of life under communism.