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.

Produced on the occasion of Portraits a solo exhibition by Ghislaine Leung displayed at Museum Abteiberg from 3 June–24 October, 2021, curated by Susanne Titz and Haris Giannouras. The exhibition comprised of works commissioned by Museum Abteiberg and produced over the duration of a year from 2020–21. The catalogue references the legendary box catalogues developed by previous museum director Johannes Cladders with Joseph Beuys in 1967. With essays from Bruce Hainley and Eleanor Ivory Weber.

You can see a round table discussion of the exhibition featuring Bruce Hainley, Fatima Hellberg & Susanne Titz and Haris Giannouras here.

This publication assembles three phases of Termite Economies, a major series of artworks produced between 2018–2020 by the Australian artist Nicholas Mangan.

In Termite Economies (Phase 1) Mangan researched an anecdote that termite abilities might one day lead humans to gold deposits. Phase 2 explored termite eusociality, pheromonal communication, building behaviour, biomimicry, super-organism and swarm intelligence. Phase 3 deployed termite collectivism as a speculative model for rerouting human neural pathways. Within each phase, Mangan developed specific methods to explore these phenomena formally, spatially, and through moving images.

The book presents each phase in the order of the exhibition series. It includes process and research photographs, diagrams, installation and detailed imagery. It includes an essay by Artist Mariana Silva, a fictional text by writer ST.Lore, a conversation between Mangan and cultural theorist Ana Teixeira Pinto, and a republished essay by Dr. Guy Theraulaz. Designed by Žiga Testen.