Paige Bradley’s Drive It All Over Me was commissioned by the artists Jay Chung and Q Takeki Maeda and concerns their work Bad Driver, 2023, Jack Goldstein’s Selected Writings, and Vanessa Place’s Gone with the Wind and concerns broad themes of subtextual narrative, authorship, and identity in text-based visual artworks while also touching upon allegory, elaborately subtle jokes, and writing as a sculptural material.

Riffing off the title, this volume includes an interview with Carolyn Lazard—an artist whose conceptual and often spare videos, sculptures, installations, and performances explore the full amplitude of relation—by Catherine Damman, plus a feature on New York-based contemporary artist Tishan Hsu, whose practice examines the “embodiment of technology”, and contributions by time-based media artist Silvia Kolbowski, for whom political resistance, the unconscious, and structures of spectatorship are a central concern of all her projects; choreographer and dancer Yvonne Rainer; and science fiction author Octavia Butler. Edited with Kathrin Bentele, Anna Gritz, and Ghislaine Leung. Including the work of Lutz Bacher, stanley brouwn, Jay Chung & Q Takeki Maeda, Hanne Darboven, Jef Geys, Tishan Hsu, Pope L., Louise Lawler, Carolyn Lazard, Ghislaine Leung, Lee Lozano, Henrik Olesen, Sarah Rapson, Margaret Raspé, Ketty La Rocca, Sturtevant, Martin Wong and Octavia E. Butler.

Produced on the occasion of the 2009 ars viva prize for fine arts. Mariana Castillo Deball, Jay Chung & Q Takeki Maeda, and Dani Gal examine historical fragments, documents, and objects in a new light. The artists take on the roles of amateur archaeologists as they work with found objects and fragments; even though it is clear that all display an obvious interest in historical objects, instead of providing any sort of conclusion regarding history as a whole they play an associative game, which formally resembles Aby Warburg’s Mnemosyne Atlas, while reflecting upon personal encounters with objects and places.

With texts by Jeronimo Voss, Cathy Lane, Raimundas Malasauskas, Christiane Mennicke-Schwarz.

Adapted from writings by artists and critics appearing in magazines, catalogs, and other recent publications, The Auratic Narrative was conceived by Jay Chung and Q Takeki Maeda as a framing device for their exhibition at the Kölnischer Kunstverein in 2019. The text-as-artwork offers a dramatic account of an unnamed artist’s ambivalence toward their professional milieu. Here the narrative is presented in its entirety along with bibliographical notes and an introduction by artist and writer Ariane Müller. Photographic documentation of the exhibition—the first survey of the artists’ collaborative practice—accompanies the work. Taken together, word and image chart a course through the show and the artists’ oeuvre.

Three volume artist book reproducing avid fan of the Japanese avant-garde, Teruo Nishiyama’s scrapbook. Despite not having personal contacts in the art world, Nishiyama witnessed many of the emerging radical art events and exhibitions of the 60s, including those by the Neo-Dada Organizers and Tokyo Fluxus. He also meticulously documented everything he saw in photographs and copious written notes, as well as by collecting ephemera. He preserved the material he had assembled over the course of two years in a scrapbook album.

The first volume of this new publication depicts the exhibitions Nishiyama attended in Tokyo from 1965 to 1966. In the second volume, Chung and Maeda have attempted to follow Nishiyama’s methods, documenting various exhibitions held in Tokyo from January 17th to February 3rd, 2017. The third volume includes an English translation of the notes in the Nishiyama’s scrapbook, as well as an interview with Nishiyama by Chung and Maeda.

An artist book by Jay Chung and Q Takeki Maeda that offers summaries of several hundred documents from the archive of gallerist Alfred Schmela, now housed in the Getty Research Institute collection. Through his gallery, Schmela introduced and promoted innovative European and American artists such as Joseph Beuys, Arman, Gerhard Richter, ZERO (Otto Piene, Günther Uecker and Heinz Mack), Hans Haacke, Christo, Lucio Fontana, Robert Indiana and Yves Klein. For Letters, Chung and Maeda concentrate on the final years of the gallery’s operations, beginning from 1980 when, upon his death, the gallery was taken over by Schmela’s daughter Ulrike. With active support from his wife Monika, the gallery operated under Ulrike’s directorship until its closure in 1992.

Edition of 300. Introduction by Helen DeWitt. Designed by Ronnie Fueglister.