Ellen Cantor (1961–2013) combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. This book is concerned with, and a document of, Cantor’s work through the lens of Pinochet Porn (2008–16) and its making—an epic experimental film embodying and radically extending her multifaceted artistic practice.

A history of the world as it has become known to me brings together writings and archival materials of Cantor’s, including a reproduction in full of her drawing-based script Circus Lives from Hell (2004), alongside contributions by writers, artists, collaborators, and friends reflecting on Cantor’s practice, Pinochet Porn, and a singularly transgressive vision.

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

Produced on the occasion of the exhibition Speaker Receiver at Kunsthalle Basel, Basel, 17 June–29 August, 2010.

This monograph brings the diverse aspects of Davey’s work together. It features “Index Cards”, a new piece of writing by Davey, in which she reflects on subjects such as a recent illness, her personal mapping of Paris and her habit of reading newspapers. Rather than formulating a systematic argument, the essay unfolds in a series of short “takes” or fragments.

Photographs distributed in order of their appearance within the texts interrupt the various writers’ contributions. Furthermore, for Davey’s own essay, and for the interview, the artist chose to reproduce her photographic “Mailers”, a unique series and format of work that Davey likes to refer to simply as “mail art”.

Marc Camille Chaimowicz (1946–2024) was an acclaimed visual artist known for his performances, installations and curatorial flair. He was also a writer. This volume, the first comprehensive collection of writings by the artist, includes seminal interviews, chitchats, jokes, performance reports, insightful statements and letters in essay form, as well as rare documents, such as early surviving leaflets, typewriter handouts and hard-to-find articles. Spanning 1971–2023, the book unlocks the work of an artist considered to be a refreshing role model for a new generation of culture mavens and style savants. Drawing from literature, modernist architecture, interior design, art theory, glam rock and camp culture, the collection reveals the artist’s inner self alongside the art, social flânerie and the goings-on of his time.

After his studies at the arts academies in Berlin and Düsseldorf, Ull Hohn (1960–1995) moved to New York to attend the Whitney Independent Study Program in 1987. Engaging with current theoretical debates and cultural issues, his work from the late 1980s and early 1990s frequently invokes questions of gender and homosexuality, as well as their representation. It interrogates the history of painting, traditional notions of virtuosity, the conventions of value and taste inherent to education, and the distinction between high and popular culture.

Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s.

Produced on the occasion of the eponymous exhibition at The Power Station, Dallas,  April 8 – June 12, 2015.

Part document, part photographic album, this artists’ book by Jos de Gruyter and Harald Thys captures the sculptural revisionings of the descendants of an executioner family from Greifswald in the historical province of Pomerania.

Designed by Boy Vereecken and Harald Thys.

Produced on the occasion of the eponymous touring exhibition at CCA Wattis Institute for Contemporary Arts, San Francisco; MoMA PS1, New York; and Raven Row, London, in 2015.

The conceptual duo Jos de Gruyter and Harald Thys continue in the project “Fine Arts” with their playful approach that draws on dystopian narratives. In this scenario the artists have became watercolorists; unfashionably harping back to the previous century’s pictorial tradition while basing their picture making on a range of quotidian and historical images culled from the Internet.

Designed by Boy Vereecken and Harald Thys.