In The Current Of The Situation is an email correspondence between artist Danae Io and curator Ioanna Gerakidi. The exchange started in 2017 and lasted over a year, creating a space to voice what could not be said in their daily phone calls. The correspondence is composed of diaristic poems written for their lovers but exchanged between one another. This continuous shift between addressee and the receiver generates a protective distance to articulate their vulnerabilities and examine the erotic. The correspondence has been presented as a performance at Kunstverein, Amsterdam in 2018 and is now published as a book by Dolce Publications with contributions in response by artist Jesse Darling.

Designed by Claes Storm.

Edition of 26 copies and 4 artist’s proofs, numbered and signed by the artist.

Although the title of this edition, Un jour sans pain* est un jour sans soleil [“A day without bread is a day without sun”], sounds like a typical French saying, it is simply a sentence glimpsed in a bakery where Ana Jotta used to go in Paris. But the asterisk complicates things a little: on the back of the leporello, the artist instructs us to read “pain” in the English, thus adding a sarcastic touch to this commercial motto.

The (absence of) sun and the umbrella, as well as the wallpaper designed for the presentation of the edition at Keijiban, can refer to the tsuyu, the rainy season during which they were exhibited, in the open air.

Produced on the occasion of John Nixon at Superweakness, Den Haag, 7–28 November 2021.

John Nixon was a seminal figure in contemporary Australian abstraction. From 1968, his work was dedicated to the on-going experimentation, analysis and development of radical modernism, minimalism, the monochrome, constructivism, non-objective art and the readymade; which were key reference points in his work. Experimental Painting Workshop (EPW), which the artist named in 1990, but which covers works dating back to 1968, formed the basis of Nixon’s rigorous and long-standing intellectual investigation into the making of art, which over time expanded to encompass not only painting, but collage, photography, video, dance and experimental music performance.

A note about Jack Smith by Michael Krebber; I will not interpret Jack Smith. I will not interpret Jack Smith. I will not interpret Jack… by Felix Bernstein; I Danced with a Penguin by Enzo Shalom; Broadway Central Narco Moon: Jack Smith and Illegality by Branden W. Joseph; Vile Days: The Village Voice Art Columns, 1985–1988, Gary Indiana in conversation with Bruce Hainley and Sohrab Mohebbi; On the film Shake Down by Leilah Weinraub by Juliana Huxtable; On Nina Könnemann at KW Institute for Contemporary Art, Berlin by Megan Francis Sullivan; On Louise Lawler at 80WSE Gallery (NYU), New York by Nick Irvin; On Claire Fontaine at Reena Spaulings, Los Angeles by Anita Chari; On Afuma (Stefan Tcherepnin & Taketo Shimada) at H0L0, Ridgewood by Keith Connolly; On Park McArthur at MoMA, New York by Noah Barker; On the film Vital Behaviors by Ken Okiishi by Felix Bernstein; Garde-montée by Jeanne Graff; Last Summer (Hong Kong SAR) by Sony Devabhaktuni; A Cowboy Narrative by Bernadette Van-Huy; Visual Insert by Jack Smith, 35 mm color slides, I Danced with a Penguin, c. 1983.

Edition of sixty copies numbered and signed by the artist on a certificate and twelve artist’s proofs.

Halo is a unique specimen in Jochen Lempert’s body of work. While the artist is known for his distinctive black and white analogue photographs, for this edition he also included colour. Obviously, this is a subtle, careful, and consistent shift. The photograph here is only partially hand-coloured, with a pale yellow that is perfectly in tune with the nuances of the grey.

i THINK and I think i’ve THOUGHT a thought collects the various components of Pyl’s practice from 2014 to 2021 in one publication by making use of the frottage technique. Working with pencil and paper, Pyl has inscribed each page with elements taken from different works. From these fragments, when they are taken together, a new vocabulary can be assembled: a collection of semantic artifacts rendered in binary patterns of light and shadow, negative and positive, and in no gradated or hierarchical order. The images that can be composed from these fractured parts are revealed only gradually as they superimpose upon each other, conjuring new associations, new ways of reading, with each turn of the page.