The human body is a central focus in Philipp Gufler’s mirror painting series. Looking at the work, the spectator is confronted with their own image. To make these works Gufler uses a silkscreen printing technique on mirrored glass in order to produce layers of translucent pigment.

“Gufler’s ‘mirrorical’ art passes through the looking glass; his spaces are traps for the gaze. The reflective surfaces and diaphanous scrims in his oeuvre function as projection screens and as obstacles in games of identification and disidentification; recognition and misrecognition; self-performance and self-alienation.“ Sven Lütticken. Designed by Sabo Day.

Produced on the occasion of the exhibition Parallelepipede & Trame Travail in situ by Daniel Buren at the Center for Contemporary Art, Kitakyushu, 1 – 19 December, 1997.

Brian Eno was the first institutional solo exhibition by Scottish artist Lucy McKenzie at the Neuer Aachener Kunstverein, February 23 – April 27, 2003.

The installation of trompe l’oeil murals and screen-printed posters as well as drawings, sound and light took the symbolic figure Brian Eno as its starting point. As an extraordinary musician, educator, visual artist and “communications advisor” to British New Labor, Eno is emblematic of common debates about avant-garde and quality. Lucy McKenzie used this discourse as a background for her own interpretations of such questions, especially questions that concern functionalism.

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.

A bestiary of agencies, kinds of relatings, and scores of time.

Henrik Olesen’s R.R. originates in his reading of Donna Haraway’s The Companion Species Manifesto. Through her, Olesen reimagines Robert Rauschenberg’s ‘Monogram’ using found images of interspecies attachments overlaid with painterly gestures that are both childish and fevered.

Printed on a lightweight, soft, ink-absorbing paper stock, these images are then partially overlaid with hand collaged tip-ins. In an edition of 65. Numbered and signed.

Produced on the occasion of A work for no public audience at Castello di Rivoli Museo d’Arte Contemporanea, (Rivoli), Torino. Handbound artist book with a title by CAConrad. 6 images inset in French folded computer paper. Edition of 65 + 20 AP