Invitation card produced on the occasion of Jason Hendrik Hansma’s exhibition A Centre Cannot Hold at Memphis, Linz, 22 July–17 September, 2020.

“Stretched across a white-walled room with grey concrete floors, a chiffon curtain billows from the wind of an open window. Past the window, leaves on a tree flutter in the wind. The curtain stretches from the ceiling to the floor and across the length of the room. Underneath the curtain, is a small, reflective strip on the tiled floor. The sun from the window and from a path leading to another room lights the space and the curtain.”

Accompanying the first in-depth survey of her work in the UK, Linderism offers four new perspectives on Linder’s wide-ranging practice by James Boaden, Alyce Mahon, Amy Tobin and Sarah Victoria Turner. The essays address Linder’s early photomontages forged in the crucible of punk and post-punk culture in the North-West of England, as well as more recent shifts in her practice encompassing spirituality, the occult, and the surreal. Linderism is fully illustrated including extensive documentation of working drawings, and research images—the materials that have long formed the basis of her practice—as well as documentation of works included in the survey exhibition.

Designed by Julie Peeters.

Produced on the occasion of the exhibition Was machen Sie um zwei? Ich schlafe. at GAK Gesellschaft für Aktuelle Kunst, Bremen, 19 September–20 December, 2020, curated by gerlach en koop. For the duration of the exhibition, a room has been emptied out at the Fernberger House, Mochizuki, Nagano, Japan. Includes a conversation between the artist and gerlach en koop.

Eileen Myles offers an intimate glimpse into creativity’s immediacy. With erudition and wit, Myles recounts their early years as an awakening writer; existential struggles with landlords; storied moments with neighbours, friends, and lovers; and the textures and identities of cities and the country that reveal the nature of writing as presence in time.

David Wojnarowicz’s In the Shadow of Forward Motion was originally published in 1989 as a limited-run zine/catalog to accompany an exhibition by the artist at P.P.O.W gallery.

Despite its meager print run of just 50 copies, the publication has garnered a legendary status. In it we find Wojnarowicz’s writing and visual art—two mediums for which the artist is renowned—sitting side by side for the first time, playing off each other in equal measure. Wojnarowicz uses the fractured experience of his day-to-day life (including dreams, which he recorded fastidiously) to expose these technologies as weapons of class, cultural, and racial oppression.

The artist’s experience living with HIV is a constant subject of the work, used to shed light on the political and social structures perpetuating discrimination against not only himself, but against women and people of colour, who faced additional barriers in their efforts to receive treatment for the illness.

Originally published in 1974 by the Nova Scotia College of Art and Design, Yvonne Rainer’s Work 1961–73 documents the artist’s landmark early works at the intersection of dance, performance, and art.

Assembled ostensibly as a survey, Work 1961–73 features a multitude of documentary forms, including scripts, excerpts from the artist’s notebooks, press reviews, correspondence, photographic documentation, literary excerpts, contextualizing texts by the artist, diagrams, film stills, floor plans, scores, and more. As such, the publication resembles an artist book that generously gives the reader access to Rainer’s modes of working, as well as the social and political context around which the work was made. The publication is also a book of writing, with the artist’s frank, witty, and sometimes humorous prose intimately leading the reader through each work.