“The work of Fina Miralles—artist born in Sabadell, Barcelona—is not that well known. Her actions, understood from today’s perspective—were not really performances but the enactment of a necessary philosophy: to simply perceive the sun, and, then understand its energy; to interact and even tie yourself to a tree, to understand its form, its life; to be halfway buried on earth, to sense it… All simple but all aimed to what we need, a thought and an experiential system capable of surpassing the binary culture/nature.”—Chus Martinez

Postcard produced on the occasion of Park McArthur’s exhibition Kunsthalle_guests Gaeste.Netz.5456 that was presented on Kunsthalle Bern’s website in German and English and in the building of Kunsthalle Bern from 15 August–4 October, 2020.

You can see more on the exhibition here.

Secret Outlines: Versailles (1996–2020) is the facsimile reproduction of one of the eight variations of the Secret Outlines (1996) series in which Jacqueline Mesmaeker over her way into books through graphic interventions, collages, and cuttings. For this edition, published by Keijiban (Kanazawa) and printed by Cultura (Wetteren) on Gardapat 150g paper, the artist has added five original drawings made with Caran D’Ache sapphire blue pencil to each of the thirty signed and numbered copies.

More images of the associated exhibition can be seen here.

Produced on the occasion of Richard Tuttle’s participation in the group exhibition Das kleine Spiel zwischen dem Ich und dem Mir: Kunst und Choreografie at Kolumba Museum, Köln.

This early piece by Richard Tuttle consists of 10 drawings laid out on the floor using pieces of string. The traces of physical gestures that are incorporated into the piece open up a field of possibilities, enabling the visitors to become actors with their own agency. The notation for this piece is documented here and a video of the performance can be seen here.

The concept of transcorporeality (Stacy Alaimo) builds on the thesis that all bodies are permeable, open-ended systems in constant exchange with their environment and other biological, technological, economic, and sociopolitical realities. With works by Jesse Darling, Flaka Haliti, Trajal Harrell, Paul Maheke, Nick Mauss, Park McArthur, Oscar Murillo, and Sondra Perry, Transcorporealities critically examines the permeability of bodies-including the museum-at the interfaces between subject, object, and space. It focuses on urgent (institutional) questions of visibility and accessibility as well as the possibilities and limits of representation: What is inscribed and attributed to bodies? Who is looking at whom? What is meant when we say “we” and “they”?

With texts from Stacy Alaimo, Yilmaz Dziewior, Park McArthur, Leonie Radine & Nora Sternfeld.

Ian Kiaer’s monograph is based on a project that the artist began several years ago and whose configuration changes with the circumstances. Drawing on the notion of marginal endnotes in books, it references the utopian concepts of the Austrian American architect Frederick Kiesler (1890–1965).

In the late 1940s, Kiesler—an atypical figure whose writings were a significant influence on postwar art, architecture and design—came up with the (unrealised) Tooth House, a residence modelled on the human tooth and integrated into its environment.

Published as part of the the eponymous exhibition at Musée d’Art Moderne de la Ville de Paris in 2017.