The human body is a central focus in Philipp Gufler’s mirror painting series. Looking at the work, the spectator is confronted with their own image. To make these works Gufler uses a silkscreen printing technique on mirrored glass in order to produce layers of translucent pigment.

“Gufler’s ‘mirrorical’ art passes through the looking glass; his spaces are traps for the gaze. The reflective surfaces and diaphanous scrims in his oeuvre function as projection screens and as obstacles in games of identification and disidentification; recognition and misrecognition; self-performance and self-alienation.“ Sven Lütticken. Designed by Sabo Day.

In 2015, artist Patty Chang (1972) followed the South-to-North Water Diversion Project, the longest aqueduct in the world, which brings water from southern to northern China. While walking, she collected her urine in plastic bottles, drinking their contents before refilling them, in turn drawing a connection between the large-scale infrastructural attempt to control the flow of water and the uncontrollable flows of her own body. Once back in Boston, Chang began making a series of portable urinary devices from discarded plastic bottles, which were then hand-blown in New York by glass-blower Amy Lemaire.

Designed by Sabo Day, this indexical publication is the first book dedicated to depicting the series of sixty-four sculptures in its entirety. It was published on the occasion of Patty Chang’s exhibition at A Tale of A Tub, which ran from September 14–November 3, 2024.

Produced on the occasion of Patty Chang: Glass Urinary Devices at A Tale of A Tub, Rotterdam, 14 September – 3 November, 2024. In 2015, American artist Patty Chang followed the South-to-North Water Diversion Project, the longest aqueduct in the world, which brings water from southern to northern China. While walking, she collected her urine in discarded plastic bottles found along the way, drawing a connection between the large-scale infrastructural attempt to control the flow of water and the uncontrollable flows of her own body. Once back in Boston, Chang made a series of hand-blown glass sculptures modelled on the plastic bottles that she utilised during her journey. For Chang’s exhibition at A Tale of A Tub, a collection of these prosthetic-like sculptures will be presented on the ground floor, reflecting on the flow of water that once passed through the former washhouse alongside Chang’s own ruminations on water as a metaphorical point of departure for geopolitics, human excess and waste.

Conceived by artist and filmmaker Margaret Salmon, this publication pairs an enquiry into women’s filmmaking practice with a comprehensive survey of experimental analogue technique across generations. Nine filmmakers—Peggy Ahwesh, Betzy Bromberg, Rose Lowder, Babette Mangolte, Rhea Storr, Deborah Stratman, Alia Syed, Malena Szlam and Salmon herself, speak about the ways they use and think about their cameras, sharing technical knowledge and reflections on camera work to reveal their creative philosophies and intentions. Included with the book is a separate manual: An Artists’ Guide to Analogue Cinematography. This learning pamphlet was written and photographed by Salmon, and includes step by step instructions to the loading and basic use of three cine cameras.

Produced on the occasion of the exhibition Tishan Hsu: recent work 2023 at Secession, Vienna, 1 December, 2023 – 11 February, 2024.

Hsu’s preoccupation with the body in a world of technology dates back to the 1980s. How bodies and consciousness change in the interaction with digital technology is a question he has insistently probed. Hsu’s insights into the interpenetration of human and technology have proven visionary; science fiction anticipated its culmination in the hybrid existence of the cyborg, but it left few traces in the art of the 1980s.

You can see Tishan Hsu in conversation about the exhibition with Patrizia Dander here.

Designed by Sabo Day.

Between December 2022 and March 2023, Vivian Suter shared hundreds of photos, all taken with her mobile phone, with the designer and editor of this book. A selection of these snapshots, condensed, juxtaposed, complementing each other, now forms a kind of photographic journal. It offers insights into Suter’s work on her art and everyday life, which are inextricably interwoven: Photos of canvases and paint pots in the thicket of her jungle-like garden and in the studio, of her dogs, of the house with its characteristic aquamarine green and purplish-red walls, of family pictures, of the play of light and shadow in nature and architecture. Among the many photos, one occasionally finds images of watercolours on (coloured) paper, which the artist made especially for the book. Designed by Sabo Day.