Textless newspaper with drawn compositions, borrowed from existing book covers, posters, and paintings.
Wols (1913–1951) was celebrated posthumously as one of the pioneering artists of the Art Informel movement. His distinctive early photographic work of the 1930s is however very little known. In an unusual travel across time and space his work is discussed in connection to that of contemporary American artist Eileen Quinlan (b. 1972). This book, a companion to the eponymous exhibition Always Starts with an Encounter, Wols-Eileen Quinlan, curated by Helena Papadopoulos and organized by Radio Athènes at the Museum of Cycladic Art, Athens in 2016, further explores the relationship between the work of the two artists through an indexical structure, various textual forms and inflections, different registers of images and close-up textures that act like another text. Spectral and suggestive, but also precise and factual it reflects on a circular idea of time as it wanders in the abstruse physicality of the photographic.
Texts by Quinn Latimer, Laura Preston, Helena Papadopoulos, Oliver Berggruen. Designed by O-R-G Inc., David Reinfurt.
My body, this paper, this fire is an artist book featuring this text and the essay Kissing Someone in the Middle of a Crowd: Translating Ernest de Sousa’s “Orality the Future of Art?” (2018). The book features a variety of images by the artist including drawings and other materials gathered around the texts.
Brief, risible, finicky, the limerick is a form whose greatest successes never rise above the mildly embarrassing. Yet despite never having enjoyed unqualified approbation from critics or public, the form has its enthusiasts and eminent aficionados: there is no lack of literary luminaries who have lavished love on the limerick. This title continues this queer minor tradition, presenting seventy-seven limericks about writers and philosophers from St Thomas Aquinas to Simone Weil. Of all the grades of doggerel, the limerick is one of the lowest. Populist and participatory if not precisely popular, the limerick first becomes a hit in Victorian England with Edward Lear’s books of nonsense. It spreads at once across the English-speaking world like a highly contagious linguistic rash. Including a critical essay that delineates the limerick’s salient features, along with a dictionary that collects brief physiognomies of the subjects of the limericks, this book dares to descend into the maelstrom of mediocrity and to return, arms overflowing with mixed metaphors and mouldering microplastics.
Produced on the occasion of Lisa Adkins’ talk discussing how we might rethink the maintenance and reproduction of the household today. She preposes that we think of this as a relationship between the household and its necessary, contracted payments to finance capital (for utilities and services, as loan repayments, rent, etc.)
The talk was co-presented with Benison Kilby, as a part of her exhibition “Bodies of Work”. The exhibition looked at how a group of artists respond to the intersections of reproductive, care, and feminised labour that maintain, and increasingly define, our current living conditions.
Designed by Ziga Testen.
More information on the talk can be found here and a recording of the talk can be found here.
Working together since the early 1980s, Janet Burchill and Jennifer McCamley have developed an expansive framework of formal and thematic concerns drawing broadly on the histories of art and design, film, literature and cultural theory. Influenced by feminism, and applying an appreciation and critique of modernism, they make visually stunning artworks across an ever-expanding repertoire of mediums—from painting and sculpture, photography and printmaking, to neon light and textile works.
Essay contributions by Sue Cramer, Justin Clemens, Helen Hughes, Juan Davila, Kyla McFarlane and Rex Butler.