Produced on the occasion of Morgan Fisher’s exhibitions The Frame and Beyond at the Generali Foundation, Vienna, 2 March 2–29 July, 2012 & Translations at Städtisches Museum Abteiberg, Mönchengladbach, 23 October, 2011–5 February, 2012.

Morgan Fisher studied art history at Harvard from 1960 to 1964 before attending film school in Los Angeles and going into film. He then worked in Hollywood for several years, mostly as an editor, an experience that shaped his experimental practice. In the 1970s, Fisher created several film installations that can be described as works of Expanded Cinema. From the mid-1990s, in a further development, he turned to monochrome painting and installations of monochrome paintings.

With introductions by Sabine Folie and Susanne Titz, essays by Thom Andersen, Rainer Bellenbaum / Sabeth Buchmann, Yve-Alain Bois and short texts by Morgan Fisher

Produced on the occasion of the exhibition at Museum Ludwig, Köln, March–June 2008. The Cologne Progressives were a group of artists who came together in Cologne, Germany in the 1920s. The artists in this exhibition, Franz Wilhelm Seiwert, Heinrich Hoerle and Gerd Arntz, were its core members. In the aftermath of the horrors of the First World War, like many Germans, these artists desired radical social and political change. Supporters of socialism and workers’ rights, the Progressives sought to unite art and politics. Their aim was to embody change with both the subject matter depicted and in the way they painted their artworks.

Produced on the occasion of the exhibition Theresa Hak Kyung Cha, The Dream of the Audience, at the Generali Foundation, Vienna, 14 May–15 August, 2004.

From the mid-1970s until her death at age 31 in 1982, Korean-born artist Theresa Hak Kyung Cha created a rich body of conceptual art that explored displacement and loss. Her works included artists’ books, mail art, performance, audio, video, film, and installation. Although grounded in French psychoanalytic film theory, her art is also informed by far-ranging cultural and symbolic references, from shamanism to Confucianism and Catholicism. Her collage-like book Dictée, which was published posthumously in 1982, is recognized as an influential investigation of identity in the context of history, ethnicity and gender.

Preface by Dietrich Karner, introduction by Sabine Breitwieser, texts by Constance M. Lewallen, Lawrence Rinder, Trinh T. Minh-ha and Bernadette Hak Eun.

Produced on the occasion of Michael Stevenson’s 2012 exhibitions at Portikus, Frankfurt and Museo Tamayo Arte Contemporáneo, Mexico City.

A plane is lodged in the Portikus attic to be seen across the river. In keeping with Stevenson’s commitment to producing objects that animate historical narratives, often as replicas, facsimiles or architectural re-constructions, the object will be transformed into an image through the very fragile and the most minute effects of optical lenses and mirrors, so that it appears in the main exhibition space.

With texts from Roberto Bolaño, Giovanni Intra, José de Jesús Martínez, Marilyn Strathern, Michael Taussig, Laura Preston, Mark von Schlegell & Jan Verwoert

Reprint of the publication originally published in 1976 for Sanja Ivekovic’s exhibition at The Gallery of Contemporary Art, Zagreb.

Following in the autobiographical vein of her artist’s book Double Life, in Tragedy of a Venus Ivekovic presents a selection of photos of Marilyn Monroe coupled with similarly composed snapshots and posed photos of the artist from throughout her life.

Reprint of the publication originally published in 1976 for Sanja Iveković’s exhibition at the Museum of Contemporary Art, Zagreb.

Dedicated to the series Double Life 1959–1975, where the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of popular magazines and newspapers. One part of each pair depicts Iveković through distinct periods of her life, enacting for the camera different poses, while the other part shows models advertising in women’s magazines such as Elle, Grazia, Brigitte, and Svijet.