Produced on the occasion of Christopher Williams: Werbung: A 48 hour display of quality framing materials at Maxwell Graham, New York, 15 – 17 December, 2023, which presented for the first time, Provisional Prop: Formal Public Disclosure and marked the announcement of the availability of Christopher Williams’ adaptation of Franz Xaver Kroetz’s 1971 play Inklusive for broadcast on radio, along with wall coverings, radio, printed matter, picture frames, photographs, films, and arrangements. Presented within a 48 hour time frame, these elements constitute a staging of materials for submission to the public record.

Produced on the occasion of the exhibition Tishan Hsu: recent work 2023 at Secession, Vienna, 1 December, 2023 – 11 February, 2024.

Hsu’s preoccupation with the body in a world of technology dates back to the 1980s. How bodies and consciousness change in the interaction with digital technology is a question he has insistently probed. Hsu’s insights into the interpenetration of human and technology have proven visionary; science fiction anticipated its culmination in the hybrid existence of the cyborg, but it left few traces in the art of the 1980s.

You can see Tishan Hsu in conversation about the exhibition with Patrizia Dander here.

Designed by Sabo Day.

This calendar was conceived by Ricardo Valentim and Clément Dirié. It follows calendars conceived by Katerina Seda in 2014, Ana Jotta in 2015, Bruce McLean in 2016, Mick Peter in 2017, Paulina Olowska in 2018, Jean-Baptiste Bernadet in 2019, Apostolos Georgiou in 2020, Agnès Thurnauer in 2021, and Dorothy lannone in 2022. In a limited edition of 200 copies

Designed by Amélie Boutry.

This publication was developed over a year and catalogues the photographs Fiona Connor takes as tools for making sculptures while also considering how she prints and uses these images in her studio. Over five thousand images have been edited and collated into stapled book blocks arranged chronologically. The photographs record sites, surfaces, and objects to enable a sculptural language that utilises processes of mimicry and reproduction. When seen together, they operate like a stream of consciousness recorded through the push of a fingertip on a phone screen.

In Perpetual Slavery, Ciarán Finlayson investigates the relationship of art to freedom in the work of Cameron Rowland and Ralph Lemon, who both utilize imagery of labor haunted and structured by the historical experience of slavery.

Finlayson suggests that these two artists’ work overcomes the dichotomy between the recording of history and its interpretation by making both the object of artistic experience, thereby providing a space to grasp the continuing effects of slavery.

“The actual distribution of the centers of wheat and rice production in the world can be seen to coincide fairly accurately with the areas of adequate rainfall. A temperate climate and rainfall adequate to the production of either wheat or rice provide the agricultural basis for the power of any state. A region which lacks these elements in any appreciable degree finds itself doomed to play a secondary role in the power relations of the world.”

— Spykman, Nicholas John. The Geography of the Peace. New York: Harcourt, Brace and Company, 1944.