Myths and Manifestos is a compendium of dramatic and polemical texts written and released, by the artist entity Studio for Propositional Cinema between 2009 and 2021. Scripts for a play, a libretto, and an epic poem are punctuated by manifestos and public speeches that act as bridges between them. Together they reflect and warn of an encroaching ideological dark age in which our culture’s communicational forms are becoming increasingly endangered and alienated from our collective control, while making some modest proposals for how we can make space to relearn and retain them, if there is still enough time to do so.

Jack Smith presented his performance Irrational Landlordism of Bagdad as part of the Cologne Art Fair fringe in the summer of 1977. Many other events were documented photographically and can now be found in the Cologne Art Fair archives—not so Smith’s performance. This poster publication, edited by Michael Krebber, shows him in his fair stall and during his performance for the first time. The pictures are perfect documents of a completely eccentric transaction by this pioneering director and performance artist.

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.

Complementing Fisher’s Two Exhibitions monograph, this volume compiles the Los Angeles-based artist’s writings of the past three decades, from 1975 to the present. Fisher discusses his own films, paintings, installations and photographs and the works of artists such as Carl Andre and Blinky Palermo. A final section compiles his film and video transcripts and narrations.

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.