Correctomundo: Selected Writings 2001–2026 by the writer Bruce Hainley is a co-publication by the gallery Clementin Seedorf and the design studio CTMS.

Initiated by the artist Yvo Cho, the book brings together fifteen of Hainley’s luminous essays on artists including André Cadere, Julie Becker, Trisha Donnelly, Vincent Fecteau, Gary Indiana, Monica Majoli, David Hammons, and Andy Warhol, among others. To mark the release of the book, an exhibition opened at Clementin Seedorf in Cologne, featuring works and ephemera by artists on whom Hainley has written, alongside works by Devin T. Mays and Christine Pichini.

The first edition comprises 400 copies in a suede hardcover binding. It was designed by CTMS (Christopher Tröster & Max Schropp). Copy-editing by Jennifer Krasinski. Proofreading by B. A. Briggs.

Bruce Hainley is the author of Under the Sign of [sic]: Sturtevant’s Volte-Face, Foul Mouth, and Really, No Biggie, among other publications. He co-authored Art—A Sex Book with John Waters and edited Gary Indiana’s Vile Days: The Village Voice Art Columns 1985–1988, as well as Commie Pinko Guy, published to accompany the first European survey of Larry Johnson’s work. Hainley has also curated numerous exhibitions at national and international institutions, most recently at Clementin Seedorf, Cologne; Misako & Rosen, Tokyo; and, with Shahryar Nashat, The Renaissance Society, Chicago.
Bruce Hainley lives and works in Houston, Texas.

Produced on the occasion of the exhibitions held at Staatlichen Kunsthalle Baden-Baden, 27 October, 2007–6 January 2008; Musée d’Art Moderne de la Ville de Paris, 14 February–25 May, 2008; Bonnefantenmuseum, Maastricht, 2 March–1 June, 2008. With a foreword by Karola Grässlin. Designed by Yvonne Quirmbach.

*Please note this publication is secondhand and may have some traces of previous ownership.

Image: Presentation of a round bar of wood by André Cadere, Galerie Yvon Lambert, Paris, 23 November–7 December 1975 in André Cadere: Peinture sans fin, Verlag der Buchhandlung Walther König, Köln, 2007, p. 75.

Produced on the occasion of the exhibition Documenting Cadere, 1972–1978, MuZEE, Oostende, 2 March–2 May, 2013, curated by Lynda Morris.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

You can see Lynda Morris talking about Cadere here.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibitions; André Cadere at Institute of Contemporary Art, P.S. 1 Museum, 15 October–10 December, 1989 and L’Hommage André Cadere at Musée d’Art Moderne de la Ville de Paris, 6 July–4 October, 1992.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition André Cadere: Peinture sans fin at the Staatliche Kunsthalle Baden-Baden, 27 October, 2007–20 January, 2008.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

Designed by Yvonne Quirmbach.

*Please note this publication is secondhand and has some traces of previous ownership.