Produced on the occasion of the cycle of exhibitions dedicated to the work of Giorgio Griffa at Centre d’Art Contemporain, Geneva; Museu de Arte Contemporanea de Serralves, Porto; Bergen Kunsthall; and Fondazione Giuliani, Rome in 2015 and 2016.

In 1968, Giorgio Griffa abandoned figurative painting in favour of a format of abstract painting that still characterises his work to this day. Painting with acrylic on raw un-stretched canvas, burlap and linen, Griffa’s works are nailed directly to the wall along their top edge. When not exhibited, the works are folded and stacked, resulting creases that create an underlying grid for his compositions. In keeping with his idea that painting is “constant and never finished”, many of his works display a deliberate end-point that has been described as “stopping a thought mid-sentence.”

*Please note this publication is secondhand and has some traces of previous ownership.

A strange hybrid of Teletubbies and Videodrome in the age of algorithms, Telebodies is a techno-somatic, multifaceted endeavour referring to the ever-growing entanglement of our bodies with epistemic, cybernetic, and kinetic materialities.

The book offers an alternative art history in the near-present of automation and disinformation, portraying a Central Eastern Europe populated by speculative cultural producers.
Written in collaboration with a cloud-based typing assistant with “main character syndrome,” the text can also be interpreted as an academic novel about the doctoral research of an overcaffeinated generation with slight attention deficit disorder, or processed as a speculative script for (im)possible collaborations with AI or machine-based personalities to come. It is also an attempt to write a practice-based fine-arts PhD thesis at the Vilnius Academy of Arts.

Designed by Nerijus Rimkus.

Michael E. Smith occasionally creates drawings as organisational notes for his exhibitions: a to-do list may be intertwined with a sketch outlining an idea for a sculpture, and at times, drawings emerge as impromptu phone scribbles. Over the past fifteen years Smith has accumulated a substantial collection of drawings, collected here for the first time in this publication produced on the occasion of the exhibition Michael E. Smith at the Kunst Museum Winterthur, 3 February – 28 April, 2024.

This publication, conceived as an extension of the eponymous exhibition, paying tribute to Léon Bakst, the greatest set designer of the modern era. Viewing theatre as a total artwork in which choreography, music, costumes and sets were of equal importance, Léon Bakst (1866–1924) worked closely with artists such as Serge Diaghilev, Vaslav Nijinsky, Jean Cocteau, Ida Rubinstein and Igor Stravinsky, transforming the perception of ballet.

The book and offers a detailed presentation of Bakst’s drawings, costume and textile designs, previously unpublished writings on ornament and fashion, new scholarship on Bakst’s sources and the impact of his vision, as well in situ views of the scenography created by Nick Mauss for the exhibition.

Second edition.

Produced on the occasion of the exhibition One to One at Kestner Gesellschaft, Hanover, 29 September, 2017–7 January, 2018. With a text by Kirsty Bell.

Józef Robakowski, a key figure of the 1960s and 1970s neo-avant-garde rebellion, is a master of structural cinema and a pioneer of Polish video art. In his practice he has tested viewers’ perceptual habits, developed ideas about mechanical recordings beyond any aesthetic convention, and criticized methods of visual persuasion in films, highlighting in particular the pompousness of political spectacles. A radical experimentalist and media analyst, Robakowski is known for his unique approach, “his own cinema,” in which autobiography replaces dubious history, and in which the artist proposes his own scenario for perceiving the reality of life under communism.