The work of K.R.M. Mooney inhabits an intermediary position between autonomous, abstract sculpture and context-specific projects. With carefully placed objects and spatial interventions they dissolve clear boundaries between interior and exterior, initiating a more comprehensive perception of objects, bodies and space that is always co-produced with the relational, environmental and embodied. K.R.M. Mooney, Carrier is published on occasion of the artists’ solo exhibition at Kunstverein Braunschweig’s Remise. It includes an introduction by Christina Lehnert, an interview between K.r.m. Mooney and McIntyre Parker, a statement by Nele Kaczmarek and a poem by Susanne M. Winterling.

Produced on the occasion of two exhibitions of Robert Kinmont’s work; Listen, Kunsthaus Glarus, 10 February–5 May, 2013 & Measure, Kunstlerhaus Bremen, 8 June–1 September, 2013.

Although the Californian conceptual artist Robert Kinmont’s work dates back to the late 1960s and the beginning of 1970s, this is the first monograph of his work. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard’s book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Not so long afterwards, Kinmont retreated from art practice for the following three decades.

This bibliography catalogues and illustrates, with a wide selection of images, Allan Kaprow’s entire body of published work: from his first artist’s book in 1962, to his last anthological projects in the 1990s. This lesser-known side of his oeuvre unfolds through 32 books, booklets, and pamphlets produced over a period of 40 years. Kaprow’s work moved along two parallel tracks: Happenings—of which he was an unchallenged pioneer, starting in the 1950s—and “Activity Booklets,” which functioned as a tool to help people understand and experience these performances.

The layout of his books, the originality of their structure, the literary stature of their texts, and their aesthetic quality as objects shifted his exploration of print into a higher realm, where the book became a fully-fledged work of art.

Produced on the occasion of Manfred Pernice’s solo exhibition at Lulu, Mexico City, this monographic catalogue focuses on the artist’s ongoing Kassetten (cassettes) series, initially begun in 2012. Spanning back to 1996, the book features abundant documentation of the various manifestations of the works, visual references, and other recent sculptures as well as texts by Lulu co-founder Chris Sharp.

Early Summer The End of Summer Late Autumn is a monographic book presenting the cumulative result of a three-partite project by Daniel Gustav Cramer and Haris Epaminonda. The two artists collaborated on a triptych of exhibitions that had as its starting point a series of observations and interpretations on the work of Japanese filmmaker Yasujiro Ozu. Late Autumn (Samsa, Berlin, 2010), The End of Summer (dOCUMENTA (13), Kassel, 2012) and Early Summer (Kunsthalle Lissabon, Lisbon, 2012) were intended as a single, larger project in which Ozu’s way of composing image and time was addressed and explored by the artists in an ongoing narrative that intersects all three exhibitions. This monograph, co-published with Kunsthalle Lissabon, thus not only constitutes the afterlife of their project, but also and above all, its conclusion. The book has become the only place in which the visual narrative conceived by the artists is made visible; through the book, space and time are finally aligned, thereby allowing readers to gain a more comprehensive insight into the project’s scope, which up until this point had only ever been partially understandable, as an inevitable result of the segmented nature of each individual exhibition.

This catalogue is an extension of the book Giorgio Griffa: Works 1965–2015. Published 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.

From 1967 through to his most recent works, Giorgio Griffa’s painting studies have been based upon three fundamental areas of enquiry: rhythm, sequence and sign. Griffa uses a similar protocol when creating his works on paper, which have very rarely been exhibited and have remained virtually unknown to the public. One need only look through the critical literature devoted to his work, or at the long list of solo and group exhibitions he has been involved in, to see the extent to which drawing is taken into consideration only very occasionally and marginally, even by his closest commentators. However, it seems clear from the quantity and especially the quality of these works that drawing and watercolour are not just some secondary activity for this artist, or in any way subordinate to painting. As Griffa himself points out in a recent interview with Hans Ulrich Obrist, drawing is not a ‘plan for a painting,’ even though in many cases it does provide ideas for later works. Rather, it is an autonomous aspect of his work and a kind of parallel activity to painting.