Produced on the occasion of Sarah Rapson’s exhibition Ode To Psyche at Secession, Vienna, November 20, 2021– February 20, 2022.

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.

Produced on the occasion of the exhibition R.H. Quaytman: An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017–28 January, 2018. This text is published as an advance copy from the artist’s book R.H. Quaytman. An Evening, Chapter 32.

Henrik Olesen’s artworks question the sexually political effects of everyday conventions. Contemporary and historical materials serve as the starting points for this inquiry. These materials include visual and textual representations drawn from the fields of architecture, the history of industrialization, the imposition of legally sanctioned punishment, verdicts handed down by courts of law, the geographic and demographic distribution of capital, the natural sciences, and the history of art. Olesen uses the techniques of appropriation, manipulation or contextual shifting to explore the theme of the stigmatization, criminalization, and repression of homosexuality.

Cards produced on the occasion of B. Ingrid Olson’s exhibition Elastic X At Secession, Vienna, 29 June–4 September, 2022.

On the levels of both form and content, Breath Holding Spell unmistakably harks back to Bruce Nauman’s 1970 artist’s book LA AIR, whose eight monochrome pages present photographs of the atmosphere, illustrating the widely varying hues of the air over L.A.

It inspired this artist’s book by Nairy Baghramian, which features variations on a single photographic motif: no more than a cropped detail of a tightly packed standing crowd of people is visible in Tight Sluice. Monochrome pages that reprise the colors of their attire appear in rhythmical alternation with the pictures.

The artist has autographed the books on the back cover, again quoting Nauman, though his signature was a printed facsimile.