This four-volume set of publications focuses on Christopher Williams’ theatrical work Stage Play, first presented in 2017 at Miller’s Studio in Zürich. Housed in a slipcase, it contains documentation and the playscript for his eponymous play, related publicity and research documents, the artist’s series of open letters, and a related interview he conducted with historian Markus Krajewski on the ceramic tile façades of post-war architecture in Cologne. In addition to two critical essays by McDonough, this publication is largest collection to date of Williams’ writing.

Contributions by Christopher Williams, Tom McDonough, Markus Krajewski, Petra Hollenbach, Fredi Fischli, Niels Olsen & Oskar Rindlisbacher.

Angola to Vietnam is Christopher William’s 1989 artist’s book based on his photographic piece of the same title featuring twenty-seven images of glass flowers from Harvard University’s Peabody Museum of Natural History. “Drawing from the Peabody’s cache of sculptural specimens, Christopher Williams selected only those plants native to countries in which state-sponsored murders occurred in 1984. The information affixed to each photograph mimics the museum’s labels, but here Williams places the country of origin above the flower’s Latin name, subtly foregrounding the political over the natural. By referencing government-sanctioned atrocities, Williams calls attention to the flowers’ colonial origins, as the science of botany is rooted in the tangled and often exploitative history of international exploration and trade”.

Program was produced by Bergen Kunsthall on the occasion of the exhibition For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 10), curated by Solveig Ovstebo. With texts by Solveig Øvstebø, Diedrich Diederichsen, John Kelsey, and Christopher Williams, and design by Christopher Williams and Petra Hollenbach.

Christopher Williams’ work operates within the conventions of advertising, the superficiality of surface, and, ultimately the history of Modernism. In photography, film, performance, sculpture, graphic design, and video, the process of reproduction is the artist’s point of entry; from there he exposes the flaws in a near-perfect, carefully constructed reality. Each image, whether architectural or figurative, natural or manufactured, is subject to the conditions of production and the inevitable boundaries of the pictorial surface.

Produced on the occasion of the exhibition Kunst Aus Los Angeles Der 60Er Bis 90Er Jahre at the Kunstverein Braunschweig, 2 December, 2006–18 February, 2007, which concentrated on artistic positions from the Sixties to the Nineties and on works which explore conceptual approaches (Bas Jan Ader, Michael Asher, John Baldessari, Chris Burden, Douglas Huebler, Larry Johnson, William Leavitt, Bruce Nauman, Maria Nordman, Stephen Prina, Allen Ruppersberg, Ed Ruscha, Christopher Williams) as well as on Mike Kelley, Paul McCarthy and Raymond Pettibon’s more recent Pop-Art-based assemblages which expose everyday myths, prejudices, and tenets of belief as lies that serve to perpetuate social oppression.

Designed by Yvonne Quirmbach.

As part of his practice as an artist and professor Christopher Williams’ art is founded in historical research, and the manifestations of realism in relationship to theatrical, cinematic, and photographic production from the late 60s and early 70s in Germany. Thus he inevitably came across the plays of legendary German author Franz Xaver Kroetz, this first English language translation of his play Inklusive (1971) is the product of his curiosity. Inklusive consists of seven scenes of tightly scripted dialogue of a West German couple on a prepaid all-inclusive vacation package in Italy. It is the 2nd part of a new series of books edited, designed and produced by Christopher Williams.

Produced on the occasion of the exhibition De Afstand, at Witte de With Center for Contemporary Art, 1 September 1990–7 October 1990.

De Afstand investigated the relationship between photography and reality, by way of the concept of distance. The selected works focused on the representation of nature. Historically, the genre of the landscape painting had presupposed a specific viewing distance as well as the display of a changing continuity and unity in a tableau. The camera, however, cannot present such a unifying picture of nature. It cannot keep a distance. It functions rather as an analytical instrument, cutting like a scalpel into the continuity of the visible world.

Participating artists were: Jean-Marc Bustamante, Paul-Armand Gette, Andreas Gursky, Raoul Hausmann, Craigie Horsfield, Jean-Luc Moulène, Thomas Struth, Christopher Williams.