Published to accompany the exhibition LEAPS JUMPS AND BUMPS, this flip book focuses on one of Sturtevant’s more recent works, Finite Infinite (2010), a large scale projection that features a dog running in an endless loop across an expanse of grass. Finite Infinite, like many of Sturtevant’s video works, references the endlessly repeating imagery that has become so prevalent in the world we live in today. Looping and repetition, key themes throughout Sturtevant’s practice, are also elegantly drawn out in the insightful text by Daniel Birnbaum included in this book.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Paradis is a continuation of the eponymous exhibition conceived by artist Marie Angeletti in Marseilles in 2021. The exhibition brought together 56 artists of different origins and generations. More than just a transcription of this event, this catalogue brings together some one hundred contributions, combining critical texts, poetry, artists’ writings and new translations, alongside an equally large number of visual contributions and ad hoc works, most of them previously unpublished.

Riffing off the title, this volume includes an interview with Carolyn Lazard—an artist whose conceptual and often spare videos, sculptures, installations, and performances explore the full amplitude of relation—by Catherine Damman, plus a feature on New York-based contemporary artist Tishan Hsu, whose practice examines the “embodiment of technology”, and contributions by time-based media artist Silvia Kolbowski, for whom political resistance, the unconscious, and structures of spectatorship are a central concern of all her projects; choreographer and dancer Yvonne Rainer; and science fiction author Octavia Butler. Edited with Kathrin Bentele, Anna Gritz, and Ghislaine Leung. Including the work of Lutz Bacher, stanley brouwn, Jay Chung & Q Takeki Maeda, Hanne Darboven, Jef Geys, Tishan Hsu, Pope L., Louise Lawler, Carolyn Lazard, Ghislaine Leung, Lee Lozano, Henrik Olesen, Sarah Rapson, Margaret Raspé, Ketty La Rocca, Sturtevant, Martin Wong and Octavia E. Butler.

Card produced by Musée D’art Moderne et Contemporain, Geneva documenting Elaine Sturtevant’s work from the collection. Beuys La Rivoluzione siamo noi, 1988–1992, Tirage offset couleur, 97.8 × 53.5 cm, éd. 20/21.

The American artist Sturtevant is best known for her repetitions of the works of other artists, which she recreated manually from memory after having seen a piece that intrigued her. These can immediately be identified with the original, but they are not copies. The artists with whose work she engaged include her contemporaries in American Pop—Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Andy Warhol and Tom Wesselmann – as well as Marcel Duchamp, Joseph Beuys, Frank Stella, Félix González-Torres, Keith Haring and Anselm Kiefer, among others. Her aim was not to achieve an exact replica, but rather to address notions of authorship, authenticity and originality that would later come to the fore in our own digital age, characterised by the endless circulation and recombination of images.

Taking its title from the Elaine May’s 1987 film Ishtar, this group exhibition curated by Los Angeles-based critic Bruce Hainley touches on many of the same interests and dichotomies: a comedy that is political and analytical at the same time; an abstraction but also a representation; and a cultural production outside of much discourse. The catalogue traces the attempt to create an informed dialogue for artwork that evades easy classifications and readymade discussions of abstraction vs. representation. Featured artists include: Brian Calvin, Samara Caughey, Lecia Dole-Recio, Trisha Donnelly, Vincent Fecteau, Richard Hawkins, Larry Johnson, Patrick Hill, Cady Noland, Sturtevant.

Produced on the occasion of Straying from the Line at the Schinkel Pavillon from 13 April–28 July, 2019

Straying from the Line was dedicated to a fundamentally expanded perspective on the multiplicity of feminist tendencies in the art of the last 100 years. Instead of presenting a straight narrative of feminist art as a generation- and/or identity-specific style, the exhibition charted a network of multiple references, drawing connections between aesthetically and politically, geographically and historically heterogeneous perspectives.

Vito Acconci, Lynda Benglis, Dara Birnbaum, Jenna Bliss, Pauline Boudry & Renate Lorenz, Teresa Burga, Tom Burr, Claude Cahun, Ellen Cantor, Tony Cokes, Anna Daučíková, Cosey Fanni Tutti, Nicole Eisenman, Ellen Gallagher, Jef Geys, Guerilla Girls, Barbara Hammer, Eva Hesse, Irma Hünerfauth, Mike Kuchar, Maria Lassnig, Leigh Ledare, Alice Lex-Nerlinger, Klara Lidén, Lee Lozano, Sarah Lucas, Ulrike Müller, Gabriele Münter, Anna Oppermann, Charlotte Posenenske, Tim Rollins & K.O.S., Aura Rosenberg, Betye Saar, Heji Shin, Marianna Simnett, Jack Smith, Nancy Spero, Diamond Stingily, Sturtevant, Martine Syms, Rosemarie Trockel, Anna Uddenberg, Raphaela Vogel, Constantina Zavitzanos & Park McArthur.