“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.

Curatorial Feelings is a book that collects arts practitioner Eloise Sweetman’s writing from the past decade, written on the occasion of exhibitions she curated, written on and for individual artworks, as well as for public talks. Sweetman often wrote while, and not before, the artworks were on view. The time of retrospection, and of being with artworks, imbues her language. Moving between prose and poetry, impressions and reflections, coursing through the writing is a commitment to senses, to subjectivity, to social responsibility.

Sweetman writes to the work of Malin Arnell, Gwenneth Boelens, Katarzyna Kobro, Charlotte Posenenske, Miyeon Lee, Arin Rungjang, Jo-ey Tang, Katie West, Zarouhie Abdalian, Ruth Buchanan, Sofia Caesar, Theo van Doesburg, Marcel Duchamp, Ian Kiaer, Lee Kit, Liu Chao-tze, Ma Qiusha, K.R.M. Mooney, Elena Narbutaitė, Kate Newby, Shanta Rao, Himali Singh Soin & David Soin Tapperser, and Louwrien Wijers.

Edited by Eloise Sweetman and Jo-ey Tang. Designed by Dongyoung Lee.

Pamphlet for the exhibition of one work by Charlotte Posenenske, exhibited in-situ in a training room at the offices of the United Workers Union. The work was from her “DW Series” (1967), a minimal set of square cardboard tubes which are collaboratively put together by participants in the context where they are exhibited.

Wednesday 18 December 2019 6–8pm
United Workers Union
Lvl 1, 833 Bourke St, Docklands, VIC 3008

Organised by Nicholas Tammens with Imogen Beynon and Eloise Sweetman. The first configuration was made by Cameron Stops, Bridget Erin Flack, Megan Berry, Jenna Christie, Kate O’Brien, Zarah and Rhodes—all union organisers at the United Workers Union.

Designed by Ziga Testen.

You can find more on the exhibition here

Produced on the occasion of Lexicon of Infinite Movement, at the Kröller Müller Museum, 18 May, 2019–15 September, 2019, the first Dutch museum solo exhibition of Charlotte Posenenske.

The works of Charlotte Posenenske (Wiesbaden, 1930-Frankfurt am Main, 1985) consist of series in an unlimited edition. According to a number of rules, they can be made and repeated—also by others—and combined with each other. With her radical and ‘democratic’ ideas about material, production and authorship, Charlotte Posenenske influenced and shaped conceptual and minimalist art of the sixties.

Curated by Suzanne Wallinga and Eloise Sweetman and featuring the work of Ruth Buchanan (New Plymouth, 1980) and Yeb Wiersma (Groningen, 1973) in reaction to the work of Charlotte Posenenske.

Also available as a PDF.

Contributions by Liz Allan, Bik Van der Pol, Charles Esche, E. C. Feiss, Laymert Garcia dos Santos, Sarah Pierce, Eloise Sweetman, Paulo Tavares, Nato Thompson. Design by Anja Groten.

The School of Missing Studies started in 2003 as an initiative of artists and architects who recognized “the missing” as a matter of urgency. Investigating what culture(s) laid the foundations for the loss we are experiencing from modernization and how this loss can talk back to us as a potential site of learning, the School of Missing Studies is calling for a space to turn existing knowledge against itself to affect our capacity to see things otherwise, to trust that seeing, and to set one’s own pedagogical terms.

Sandberg Series n°1. Copublished with Sandberg Instituut, Amsterdam.