The work of K.R.M. Mooney inhabits an intermediary position between autonomous, abstract sculpture and context-specific projects. With carefully placed objects and spatial interventions they dissolve clear boundaries between interior and exterior, initiating a more comprehensive perception of objects, bodies and space that is always co-produced with the relational, environmental and embodied. K.R.M. Mooney, Carrier is published on occasion of the artists’ solo exhibition at Kunstverein Braunschweig’s Remise. It includes an introduction by Christina Lehnert, an interview between K.r.m. Mooney and McIntyre Parker, a statement by Nele Kaczmarek and a poem by Susanne M. Winterling.

Produced on the occasion of Onion Walk and News Animation (Rehearsal), 24 January–17 February, 2018 at ReadingRoom, Melbourne.

Simone Forti is a dancer, artist, writer based in Los Angeles. She came of age artistically in the 1960s, a time of rich dialog between poets, musicians, dancers and visual artists. Her early Dance Constructions were influential to the reinventing of dance in New York that happened in the 60s and 70s. Forti has collaborated extensively with musicians Peter Van Riper and Charlemagne Palestine, basing her dancing on studies of animals’ movements and on the dynamics of circling.

Designed by Robert Milne.

A photograph depicting Lawrence Weiner leaning casually against the wall next to his work was uploaded to a website to point out in which letter the work was typeset. The website ascribes Weiner to the alphabet’s sixth letter (that letter that starts the word we use when we describe moving through the air with wings). Edition of 50.

Invitation produced on the occasion of Lutz Bacher, What’s Love Got to Do With It at Kunstsammlung Nordhein-Westfalen, Düsseldorf, 7 September, 2018–6 January, 2019.

American artist Lutz Bacher made work spanning an array of media since the 1970s. The game of hide-and-seek she played with her own self by working under a masculine pseudonym since early on in her career can serve as a helpful entry point to Bacher’s artistic practice. It centered around issues of identity, power structures, and violence, all the while remaining ambiguous and enigmatic.

In Untitled (2017), Donald Trump’s signature is enlarged and repeated on white paper that runs across the walls of all three exhibition galleries. The work is intersected by hastily scribbled notes from everyday life in Open the Kimono (2018), and ostensibly meaningful, zen-inspired sentences in Black or White (2018), which pass by in an endless loop on giant screens.

Invitation card produced on the occasion of Ruth Buchanan’s exhibition Dead Marble at Artspeak, Vancouver, 9 June–28 July, 2018.

In 1958, weaver Ilse von Randow was commissioned to produce a major work of woven curtains for the Auckland Art Gallery Toi o Tamaki in New Zealand. Her ‘Auckland Art Gallery Curtains’ became the largest piece of hand weaving created in New Zealand. In her first presentation of work in North America, Dead Marble revisits von Randow’s curtain, and the newly designed Auckland Art Gallery sculpture court (1953) in which they were hung, as a departure point to reconfigure the complex relationships between gendered representations, institutional hierarchies and the burden of inherited legacies.