This book is both a record and a theoretical expansion of the exhibition “All Men Become Sisters” at the Muzeum Sztuki in Łódź. Dedicated to the manifestation of sisterhood in art from the 1970s until today, the exhibition and the publication focus on art that resonated with feminist perspectives on work, production, and reproduction. “Sisterhood” is a key concept and an impulse to work with imagination; built on the foundations of second-wave criticism of the patriarchal exploitation of women, it poses questions about the future from the perspective of feminist economics and ethics of care. The exhibition included the following artists: Berwick Street Film Collective, Pauline Boudry/Renate Lorenz, Sarah Browne, Agnieszka Brzeżańska, Jan Czapliński, Ines Doujak in cooperation with John Barker, Köken Ergun, Hackney Flashers, Krystyna Gryczełowska, Margaret Harrison, Elżbieta Jabłońska, Birgit Jürgenssen, Irena Kamieńska, Ola Kozioł/Suavas Levy, Nalini Malani, Marge Monko, Şükran Moral, Teresa Murak, Letícia Parente, Agnieszka Piksa, Marcin Polak, Aleksandra Polisiewicz, Raqs Media Collective, R.E.P., Alicja Rogalska, Daniel Rumiancew, Jadwiga Sawicka, Allan Sekula, Jo Spence, Rosemarie Trockel, Agnès Varda, Mona Vǎtǎmanu/Florin Tudor, Zorka Wollny Copublished with Muzeum Sztuki, Łódź. Designed by Monika Zawadzki, Olo Jean-Claude Zawadzki

In the artistic activities of Philippe Thomas (1951–1995), there was a determination to disappear: it was his procedure to transfer his title of author onto his collectors. This was the case when selling an artwork, or whenever the author’s credit was needed for a commissioned text, and in the institutional co-operations that Thomas was a participant of. With this strategy Thomas worked against his own historicization, erasing his name from the reigning European and North American art fields and with prescience Thomas “put up obstacles to block his future ‘googleability’” (Hanna Magauer). In recent years, the works and writings of the artist, who also acted on behalf of the semi-fictional agency readymades belong to everyone®, again gained greater visibility and as of current are being assigned a place in art history.

With this book, Élisabeth Lebovici elaborates on Thomas’s strategy to cede and fictionalize authorship and suggests a reading of his work that incorporates questions of gender and reproduction, the multiplicity of the subjects involved, and the unbearable disappearance of Thomas (who died of AIDS-related complications), into the process of enunciation. It is Lebovici’s suggestion that the performativity of Thomas’s work requires two versions at once: “the one where one enters into the fiction and the one where one observes the beauty of the arrangement and the plot at work. The one where one is inside and the one where one contemplates it.”

Designed by HIT.

Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterized by a formal rigor combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

The Weather is Quiet, Cool, and Soft is published on the occasion of the eponymous exhibition at Kunsthalle Wien, Vienna (February 1–April 8, 2018), and at Mu.ZEE, Ostend (November 25, 2018–March 10, 2019). Borrowed from a note the artist jotted down on one of his works on paper, the title pays homage to the atmospheric impermanence of Mees’s works, as well as his infra-ordinary, relativistic, and poetic approach.

Edited by Lilou Vidal. Texts by François Piron, Fernand Spillemaeckers, Lilou Vidal, Wim Meuwissen, Dirk Snauwaert, Micheline Szwajcer. Copublished with Kunsthalle Wien. Designed by Joris Kritis.

Lilou Vidal, curator of the exhibition and François Piron, art critic, curator and editor, to discuss Guy Mees’ work here.

Produced on the occasion of Kate Newby’s exhibition I can’t nail the days down at the Kunsthalle Wien, 16 May–2 September 2018.

Kate Newby’s works are poetic confrontations with spatial conditions and the fleeting nature of interactions. Through small as well as radical interventions into existing environments, she directs our view to what is often overlooked in everyday life. The objects she creates are testimonials to individual experiences, with the specific context of creation remaining inseparably linked to the resulting work.

For the exhibition at Kunsthalle Wien Karlsplatz, Newby continues her ongoing engagement with ephemeral and often peripheral situations. Therefore she created a large-scale work installed on the floor in the Karlsplatz building, using bricks as artistic material. For this work, the artist modified unfired bricks and inserted found elements: shattered glass fragments left behind as a result of people spending time outdoors in the Karlsplatz area, and bits of clay collected when the subway was constructed.

Introduction by Nicolaus Schafhausen and texts by Juliane Bischoff, Christina Barton and Chris Kraus.

The catalogue GEORGIA SAGRI GEORGIA SAGRI and I is published on the occasion of the eponymous solo exhibitions GEORGIA SAGRI GEORGIA SAGRI at Kunstverein Braunschweig, December 2017–February 2018, and GEORGIA SAGRI and I at Portikus, Frankfurt am Main, April–June 2018. As her first comprehensive publication, this catalogue surveys the multi-facetted oeuvre of the Greek artist Georgia Sagri. As the title of this book suggests, the staged objects Sagri produces are doubled modules, where each I or self can be “cross-eyed.” This effect, often produced theatrically, reorders the collective gaze to be subverted through a “catastrophe of emotions.” Across performance, video work, and sculpture, Sagri navigates the murky relationships between the artist’s body and her body of work, subjectivity and persona, original and reproduction with equal parts humor and severity.

Collected in this catalogue is both current documentation of Sagri’s work and rich archival material since 1999; together they are juxtaposed against essays by Sotirios Bahtsetzis, Daniel Horn, Ruba Katrib, Christina Lehnert, Diego Singh and Stephen Squibb, an interview conducted with Silvia Federici, and a conversation between the artist, Bettina Funcke, and John Kelsey.

Design by Yvonne Quirmbach.

Contributions by Manuela Ammer, Julie Ault, Monika Baer, Nairy Baghramian, Gerry Bibby, Jennifer Bornstein, Pauline Boudry & Renate Lorenz, Dragana Bulut, Katarina Burin, Françoise Cactus, Leidy Churchman, Ann Cotten, Juan Davila, Dominic Eichler, Elmgreen & Dragset, Yusuf Etiman, Isa Genzken, Susanne Ghez, Margaret Harrison, Daniel Herleth, Annette Kelm, Janette Laverrière, Adam Linder, Lee Lozano, Charlie Le Mindu, Shahryar Nashat, Gina D’Orio, Stephen Prina, Dean Spade, Ming Wong.

The Jahresring series is one of the longest continually published annual journals for contemporary art in Germany. The 61st edition is a reader and visual sampler with contributions from visual artists, writers, poets, musicians, choreographers, and designers. Bringing together a discursive array of forms and timbres, it takes an intertextual and interdisciplinary approach to exploring some contemporary cultural resonances with respect to gender and sexuality. In this sense, a “PS” or postscript might be understood as a place where relations or realities not explicitly stated in the main body of any given text, but nevertheless underpinning them, are revealed. A “PS” is a place of interpersonal agency; a compelling textual gesture that might add a “by the way” and an “also” and a “you know what we’re really talking about.” By its nature, a “PS” is contextualized and contextualizing. Though it may parade as the last word, it never is.

The Jahresring is published annually on behalf of Kulturkreis der deutschen Wirtschaft im BDI e.V.