In his work, McCarthy explores the dialectical relationships between subjects like city and citizen, friend and the stranger, and present and past. McCarthy’s work often testifies to the paradoxical emptiness experienced in a metropolis. Taking the city’s map as a metaphysical topography, the confluence of real estate, architecture, and urban planning become vocabulary for the construction of a self. Besides working with photography and text, McCarthy makes associative installations. His works appear to be images from memories, meeting viewers with a torrent of different emotions, ranging from amusement and admiration to aversion and fear. Designed by Lucas Quigley.

More information on the associated exhibition can be found here.

Programme produced on the occasion of Playbill Act IV: Mieko Shiomi at Torpedo Theatre, Amsterdam March 9, 2023.

Mieko Shiomi is most-known for her substantial contribution to the Fluxus movement, where her investigations into the nature and limits of sound, music and auditory experience began as a student in Tokyo in the late 1950s, during which time she co-founded the seminal postwar Japanese experimental music collective Group Ongaku.

Central to Shiomi’s body of work is the creation of Fluxus editions—printed matter often taking the form of instruction cards and action invitations—and events, for which she gained most recognition in 1960s and 70s after relocating temporarily to New York in 1964 on the invitation of George Maciunas. During this time she began scoring ‘action poems,’ most notably Spatial Poem (1965), whereby she removed musical notation from the score entirely, instead favouring verbal instructions that were to be interpreted by the performer.

Designed by Maud Vervenne.

Edition produced on the occasion of Playbill Act IV: Mieko Shiomi at Torpedo Theatre, Amsterdam March 9, 2023.

Mieko Shiomi is most-known for her substantial contribution to the Fluxus movement, where her investigations into the nature and limits of sound, music and auditory experience began as a student in Tokyo in the late 1950s, during which time she co-founded the seminal postwar Japanese experimental music collective Group Ongaku.

Central to Shiomi’s body of work is the creation of Fluxus editions—printed matter often taking the form of instruction cards and action invitations—and events, for which she gained most recognition in 1960s and 70s after relocating temporarily to New York in 1964 on the invitation of George Maciunas. During this time she began scoring ‘action poems,’ most notably Spatial Poem (1965), whereby she removed musical notation from the score entirely, instead favouring verbal instructions that were to be interpreted by the performer.

Designed by Maud Vervenne.

“In SHIMMER, A MANUAL OF UNDOING we present a series of hand-developed black and white medium format photos of Shimmer’s exhibitions-in-progress. The photographs were taken during the unpacking, the unwrapping, the decision-making, depicting the often-invisible labor of the art worker. Since 2018 we have been undecided on how to make room for these images, which seem to not fit into conventional forms of contemporary art presentation and documentation. They arrive long after the moment of their generation, finally finding their home in this book’s unsettled and unbound pages. It is in the lag—the linger—that we define as our studio method.” Designed by Christophe Clarijs.

Produced on the occasion of the exhibitions; Etel Adnan at Städtische Galerie im Lenbachhaus München and Etel Adnan: Poetry of Colors at Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

It gathers artworks from all periods of the internationally renowned artist’s oeuvre and in a wide range of media. Side by side with her small-format abstract paintings, whose intensity of colour lends them an almost mystical quality, her monumental tapestries, delicate works on paper, leporellos, and experiments on film shed light on her specific engagement with questions of colour and form and with the cosmic dimension of time, space, and the spiritual.

Produced on the occasion of Manfred Pernice’s exhibition accrochage, at Galerie Neu, Berlin 29 April–5 June, 2021.

Since the early 1990s, Berlin-based artist Manfred Pernice has created sculptural vessels with scales, materials, and aesthetics derived from the worlds of architecture, shipping cargo, and mass packaging—these works serve as complex, open-ended meditations on the increased segmentation, containment, and, to use Pernice’s term, “canning” of objects and space. His seemingly slapdash sculptures are often juxtaposed with sketches, maquettes, photographs, text and, more recently, video to create systems of meaning.

Designed by Manuel Raeder.