Produced on the occasion of Wyatt Niehaus: AFTER THE GOLDRUSH, 11 November, 2023–19 January, 2024.
Model sailboat ratline template. Digital print on 3-ply card-stock. Ratlines of various sizes for all rigged war ships. Scale 1:350. Edition of 50.
Edition of 100 copies numbered and signed by the artist on a certificate, plus 13 artist’s proofs.
As the Latinization of the Japanese name akebi, “akebia” designates fives species of plants native to East Asia. These are climbing evergreen shrubs that have been used in many ways (decoration, medicine, craft), including for the consumption of its sweet, white fruit. Delicately placed at the center of the composition, the leaf appears in this work as in an herbarium, its familiar but inexhaustible form offered to the viewers for their contemplation. But a closer examination reveals a constellation of water droplets on the surface, as well as irregular edges – and we finally understand that the leaf is a photographic cut-out. Just for a moment, we mistook the reproduction for its original. What appeared to be a clear reference to the standards of scientific, botanical representation drifts off towards another domain.
They lifted me into the sun again and packed my skull with cinnamon is a new artist’s book by Jason Dodge, composed entirely of images of bells, relates to a work in the Magic Megève collection in which bells tuned to 440 hz were mounted inside every wall of the chalet.
Booklet produced on the occasion of the exhibitions Schiller’s Skull; Das Beinhaus (with invited guest Nigin Beck) at The Shop, Sadie Coles HQ, 1–23 September, 2023 and Schiller’s Skull; Mysterious Vessel at Brunette Coleman, London, 6 October–11 November, 2023. Designed by George Haughton.
Angharad Williams’ book Eraser, concludes a two-year process of writing and has existed in the form of an exhibition, a performance, and now a book. Eraser is as much about the categorical boundaries of our consensual reality—between self and other, human and non-human, waking and dreaming consciousness—as it is about an urge to overcome them. The book’s main protagonist undergoes multiple transformations via psychic and physical transferences with elementary forces—involving a trout and a magpie, among other things—that unsettle the idea of the “stable” self. Eraser proposes a perspective in which the categorical distinctions between individual self, others, and non-human life slowly begin to dissolve. Other worlds of consciousness—of animals, plants, and organic matter—here embody a form of social organization free from the hierarchies of tradition and liberal progress.
Designed by Dan Solbach.
Despite having been active for only four years before passing away at the young age of twenty-four, Christopher D’Arcangelo (1955–1979) is a key, though lesser known, figure of 1970s Institutional Critique in New York City. Even generations later, D’Arcangelo’s singular approach remains wholly unique in its radicality and generosity. This first estate-approved monograph illuminates his momentous practice after many decades of limited access to the materials surrounding it.
The publication also includes new contributions from figures who have punctuated D’Arcangelo’s practice—such as Peter Nadin, Daniel Buren, Louise Lawler and Janelle Reiring—as well as photographic contributions by artist Heji Shin. Edited by Yana Foqué and Isabelle Sully. Designed by Marc Hollenstein.