Produced on the occasion of the exhibition John Knight, a work in situ, Galerie Neu at The Intermission, Piraeus, 18 September–30 November, 2019.
Exhibition pamphlet produced on the occasion of the first instalment of the exhibition Who’s Werner? at Contemporary Art Centre (CAC), Vilnius, 6 September – 3 November 2019. Who’s Werner? was a spacial conversation constructed by Yana Foqué that explores artistic practices that have become intertwined and focuses on the role of a figure whose work is commonly kept a public secret. It looks into some mutualistic relationships between artists in various disciplines and their assistants; producers; sometimes lovers.
Including the work for and by Céline Condorelli, Denise Scott Brown, Elle Burchill, Ian Hamilton Finlay, Raoul De Keyser, James Langdon, John Baldessari, Jonas Mekas, Lucy Skaer, Margot Sandeman, Norman Laich, Paul Robbrecht, Robert Venturi, Simon Harlow, Benjamin Roth, Laura Kaminskaitė.
Designed by Nerijus Rimkus.
Escritura-a-través collects indices and poetic glossaries by Helen Mirra in both English and Spanish, expanding her decade-long practice of weaving text and meaning. The texts printed here are taken from past works and exhibition contexts as well as notes and contributions published elsewhere. Mirra employs the technique of parallel translation presenting both languages on facing pages in an attempt to double down on her interest in signification and access to the poetic. Her use of text mirrors a process of walking, making an archive of literature and books her basis for writing-through, creating new meaning along the way.
The Halifax Conference presents a transcript of a conference held at the Nova Scotia College of Art and Design on October 5–6, 1970, transcribed and adapted by artist Craig Leonard.
Organized by Seth Siegelaub, the Conference was conceived as a means of bringing about a “meeting of artists…[from] diverse art making experiences and art positions…in as general a situation as possible.” Infamously, the conference was held in the college’s boardroom, while students and other interested parties watched the proceedings on a video monitor in a separate space. The result was a conversation that devolved—technologically and ideologically—into a quasi-tragicomic farce, punctuated by remarkable moments of rupture initiated by activist resistance to the Conference from the outside and dissenting voices from within.
Attendees at the conference included Carl Andre, Joseph Beuys, Ronald Bladen, Daniel Buren, Gene Davis, Jan Dibbets, Al Held, Mario Merz, Robert Morris, Robert Murray, N.E.Thing Co. (Iain and Ingrid Baxter), Richard Serra, Richard Smith, Robert Smithson, Michael Snow, and Lawrence Weiner.
Allan Sekula was one of the most important figures in modern photography of the second half of the twentieth century. His work focused on a critique of the links that photography has always maintained with the economy, work and the politics of representation. From his beginnings in the seventies, Sekula became a reference by incorporating textuality into photography in a way that had been previously denied it by modern art. His book Photography Against the Grain: Essays and Photo Works, 1973–1983 (1984), a key work of the new photographic discourse of the late twentieth century, enshrined him as one of the least orthodox historians of the medium.
A poster with the transcript of Rainald Goetz’s presentation of the English translation of his novel Insane on the occasion of the exhibition opening for the group exhibition Hölle in September 2018 at Galerie Buchholz New York, featuring new or selected works by Lutz Bacher, Caleb Considine, Vincent Fecteau, Rainald Goetz, Sergej Jensen, Jutta Koether, Michael Krebber, Monica Majoli, Albert Oehlen, Henrik Olesen, and Heji Shin.