Invitation card produced on the occasion of the exhibition Anne Truitt at Matthew Marks Gallery, New York, 8 May–26 June, 2010. With an insert that contains a selection of Anne Truitt’s writing.
Pamhplet produced on the occasion of Nairy Baghramian’s solo show Déformation Professionnelle, 26 November, 2016–19 February, 2017.
Déformation Professionnelle was a new production that built on 18 sets of works in the artist’s oeuvre from 1999 to 2016. Baghramian alludes to existing work and associated elements, from discarded ideas to working material. In this exhibition she was, in her own words, “surveying the survey”. By refusing to show what exists and nevertheless reconsider it in the ‘new’, the exhibition connected to fundamental questions about progress and economy and asks when something ceases to exist, and how something new comes into being.
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.
Booklet produced on the occasion of Cathy Wilkes’ exhibition in the British pavilion at the 58th International Art Exhibition – La Biennale di Venezia. Renowned for her distinctive and highly personal sculptural installations featuring humanoid figures that highlight the tender intimacy of everyday life, Wilkes’ exhibition features new paintings and sculptures that provoke a strong emotional response in viewers, set against the backdrop of the grand architecture of the British Pavilion.
Produced on the occasion of Onion Walk and News Animation (Rehearsal), 24 January–17 February, 2018 at ReadingRoom, Melbourne.
Simone Forti is a dancer, artist, writer based in Los Angeles. She came of age artistically in the 1960s, a time of rich dialog between poets, musicians, dancers and visual artists. Her early Dance Constructions were influential to the reinventing of dance in New York that happened in the 60s and 70s. Forti has collaborated extensively with musicians Peter Van Riper and Charlemagne Palestine, basing her dancing on studies of animals’ movements and on the dynamics of circling.
Designed by Robert Milne.
Produced on the occasion of Michael Asher’s exhibition at Le Consortium Dijon, 7 June–27 July, 1991.
The work on show in Dijon depicted the heating systems in the basements of sixteen of the well-known architectural landmarks in a city famous for its tourism. On the walls of the exhibition space Asher exactly reproduced the schematic engineering diagrams of interior axial cuts for the heaters belonging to each of the buildings chosen. Painted in black at the same height as the actual heaters, the diagrams, on a purely formal level, presented eccentric shapes and seemingly abstract designs while expressing vigilant precision and regulated linearity.
A set of color postcards, meant to have been sold in the city at souvenir stores and available for viewing and purchase at the reception desk, completed the exhibition as a whole. The photographs of the heaters-displayed on postcards as if they were historic monuments or scenic views-correlated with the schematic wall drawings, grounding them in the functional reality of furnaces composed of oil burners, water heaters, pressure tanks, gages, pipes, and so on.