Produced on the occasion of the exhibition Nationalgalerie Berlin, 5 December, 1970–1 February, 1971; Neuer Berliner Kunstverein e.V., 21 February–21 March, 1971; Kasseler Kunstverein, Kunsthalle Bremen, 11 April–23 May, 1971.

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

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

Otto Meyer-Amden (1885–1933) was a Swiss painter and graphic artist renowned for his devotional works that explore themes of human affection, meditation, and spiritual inner movement through a blend of figuration and geometric abstraction.

In 1912, after studies Zurich, Munich and Stuttgart, he relocated to the village of Amden in eastern Switzerland—later incorporating it into his surname—and spent much of his career there until 1928, producing drawings and paintings in media such as pencil, chalk, Indian ink, watercolour, and oil that emphasise connective density, simplicity, and truth derived from spiritual necessity.

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

Produced on the occasion of the exhibition Forrest Bess at Fridericianum, Kassel, 15 February–6 September, 2020.

Forrest Bess was one of the most interesting figures in US-American post-war art. Starting in the 1940s, he lived in isolation in Texas and created small, biomorphic abstractions that reflected his visionary experiences between wakefulness and sleep. Bess combined art with an intense exploration of mythology, psychology, and sexology, believing that the path to completeness and immortality could only be achieved through what he called hermaphroditism. His unconventional works received posthumous recognition in international exhibitions and influenced many contemporary artists such as Amy Sillman, Richard Hawkins and James Benning.

With texts from Tomma Abts, Dieter Schwarz, Amy Sillman & Moritz Wesseler.

Produced on the occasion of the artist’s survey exhibitions at MAAT, Lisbon, and Palais de Tokyo, Paris, in 2024–2025.

Vivian Suter’s gestural works are the result of a daily, physical and emotional relationship with the materials and the contingencies of nature in the subtropical ecosystem where she lives and works. Rain, earth, humidity, light, flora, and fauna often inhabit her unstretched canvases, expressing her close interaction with external factors and her break with the traditional notion of controlling authorship, to create a versatile and monumental body of work, visually incomparable—an ode to the possibilities of painting.

Edited by Clément Dirié, François Piron, Sérgio Mah.

Produced on the occasion of the exhibition Francis Picabia, at The Museum of Modern Art, Seibu Takanawa, 21 July–5 September, 1984 and the Seibu Museum of Art, Tokyo 9 September–21 October 1984.

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

Produced on the occasion of the exhibition Francis Picabia, which travelled to Isetan Museum of Art, Tokyo, 12 August–7 September, 1999; Iwaki City Art Museum, Fukushima, 17 October–14 November 1999; Kintetsu Art Museum, Osaka, 26 January–9 February, 2000.

Francis Picabia was a French avant-garde painter, writer, filmmaker, magazine publisher, poet, and typographist. He was one of the early major figures of the Dada movement in the United States and in France and was later briefly associated with Surrealism, but would soon turn his back on the art establishment.

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