Produced on the occasion of the exhibition The Music of Color, Sam Gilliam, 1967–1973, 9 June–30 September, 2018, Kunstmuseum Basel, Basel. Texts by Sam Gilliam, Jonathan P. Binstock, Lynette Yiadiom Boakye, Larne Abse Gogarty, Josef Helfenstein, Rashid Johnson and Rafael Squirru.

Sam Gilliam emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways by suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces. For an African-American artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change.

As part of his practice as an artist and professor Christopher Williams’ art is founded in historical research, and the manifestations of realism in relationship to theatrical, cinematic, and photographic production from the late 60s and early 70s in Germany. Thus he inevitably came across the plays of legendary German author Franz Xaver Kroetz, this first English language translation of his play Inklusive (1971) is the product of his curiosity. Inklusive consists of seven scenes of tightly scripted dialogue of a West German couple on a prepaid all-inclusive vacation package in Italy. It is the 2nd part of a new series of books edited, designed and produced by Christopher Williams.

Produced on the occasion of R.H. Quaytman: The Sun Does Not Move, Chapter 35, Muzeum Sztuki, Lodz, a kind of conceptual retrospective, where the artist has re-read earlier Chapters of the constantly developed project, and returned to its origins closely related to Lodz and the works by Katarzyna Kobro and Wladyslaw Strzeminski. Apart from precisely selected works from earlier chapters, the exhibition has presented new paintings in which R.H. Quaytman continues her dialogue with the work of Polish artists and explores other aspects of her personal relationship with the Lodz museum.

Dovetail offers the first monographic overview of Kasper Bosmans’ oeuvre to date. The book is richly illustrated with photographs of individual works and exhibition views, including a collaboration with artist Marina Pinsky. With texts from Piero Bisello, Phillip Van den Bossche, Martin Germann, Zoë Gray & Julia Mullié.

Designed by Nerijus Rimkus.

From shaming and shamefulness to shame-avoidance and shamelessness, the experience of shame influences our social behaviours, decision making abilities, and desires. Shame determines what we show and what we hide. And yet, as an emotion that begs for its own concealment, what is the structure and appearance of shame? How does shame interact with the realm of the visible, and where does it surface in visual culture? In this extensive historical and contemporary analysis of shame and its power, artist Andrea Büttner probes the definitions and representations of shame. The book includes close readings of Sigmund Freud’s writings on play and fantasy, challenges theoretical approaches to Andy Warhol’s queer performativity on film, and frames Dieter Roth’s representations of shame in his writing and moving image work.

Designed by HIT.

Produced on the occasion of Jac Leirner being awarded the Wolfgang Hahn Preis 2019 at the Museum Ludwig, Köln.

Leirner cre­ates in­s­tal­la­tions, col­lages, and sculp­tures using found, of­ten in­dus­trial­ly man­u­fac­tured ev­ery­day ob­jects, ac­cord­ing to the prin­ci­ples of col­lect­ing, ac­cu­mu­lat­ing, and clas­si­fy­ing play an im­por­tant role in her work. This re­sults in dense, of­ten min­i­mal­ist works that play with the aes­thet­ic, rep­re­sen­ta­tio­n­al, and so­cio-cul­tu­r­al lev­els of mean­ing of the ob­jects.

More information on the exhibition and award can be found here.