Produced on the occasion of the exhibition Forrest Bess at Fridericianum, Kassel, 15 February–6 September, 2020.

Forrest Bess was one of the most interesting figures in US-American post-war art. Starting in the 1940s, he lived in isolation in Texas and created small, biomorphic abstractions that reflected his visionary experiences between wakefulness and sleep. Bess combined art with an intense exploration of mythology, psychology, and sexology, believing that the path to completeness and immortality could only be achieved through what he called hermaphroditism. His unconventional works received posthumous recognition in international exhibitions and influenced many contemporary artists such as Amy Sillman, Richard Hawkins and James Benning.

With texts from Tomma Abts, Dieter Schwarz, Amy Sillman & Moritz Wesseler.

Produced on the occasion of Manfred Pernice’s exhibition 1A – Dosenfeld’00, at Portikus, Frankfurt am Main, 11 March–30 April, 2000.

Since the early 1990s, Berlin-based artist Manfred Pernice has created sculptural vessels with scales, materials, and aesthetics derived from the worlds of architecture, shipping cargo, and mass packaging—these works serve as complex, open-ended meditations on the increased segmentation, containment, and, to use Pernice’s term, “canning” of objects and space. His seemingly slapdash sculptures are often juxtaposed with sketches, maquettes, photographs, text and, more recently, video to create systems of meaning.

With texts by Kasper König, Angelika Nollert, Harald Fricke, Peter Herbstreuth, Angelika Nollert, Isabel Podeschwa.

Stellproblemen (which means “set-problems”, and is purposely misspelled in German), is an artist book by Heimo Zobernig. Along with notions like alter ego, copy, dummy, imitation, mimicry, proxy, remake, substitution, and, of course, coincidence, the book addresses for the first time a central aspect of his work: the notion of repetition, which is inscribed into the very design of the book.

Produced on the occasion of the exhibitions held at Staatlichen Kunsthalle Baden-Baden, 27 October, 2007–6 January 2008; Musée d’Art Moderne de la Ville de Paris, 14 February–25 May, 2008; Bonnefantenmuseum, Maastricht, 2 March–1 June, 2008. With a foreword by Karola Grässlin. Designed by Yvonne Quirmbach.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of Josephine Pryde: How Frequency The Eye at Haus am Waldsee, Berlin, May 24–August 18, 2024.

In her practice, Josephine Pryde explores modes of creation, consumption, and production of images, most often through photography. Employing a wide range of technical means, she takes up ideas conveyed through camera-generated images, in order to challenge and re-examine established modes of reception and expectation as to how the visible may be rendered.

How Frequency The Eye continues Pryde’s recent reflections on perception, cognition, and language, and her questions as to how an exhibition of artworks may articulate such concerns. In conjunction with prior works and a short film, the exhibition features a new series of photographs in which the artist interrogates interplays between the eye and consciousness.

Produced on the occasion of the exhibition Park McArthur: Contact M bringing together, for the first time, artworks made between the 2010s and 2020s. These artworks and the forms they take are guided by personal and social meanings of disability, delay, and dependency.

Co-organized by Museum Abteiberg, Mönchengladbach and mumok in Vienna, the exhibition is a collaboration between both institutions and will be presented simultaneously at both locations. Questions of simultaneous experience and access to art and culture shape this project’s format and purpose.