Produced on the occasion of the exhibition Anna Oppermann: Künstler sein at Kunsthalle Bielefeld, 23 March–28 July, 2019.

Anna Oppermann (1940–1993) is best known for her “ensembles”—expansive and complex assemblages of drawings, photographs, notes, and found objects that she developed, often over the course of years, in idiosyncratic creative processes. The fruits of an approach that was both intensely visual and tenaciously reflective, her ensembles are explicitly open works.

Produced on the occasion of the exhibition Julie Ault, Martin Beck: Installation at Secession, Vienna, 22 September–12 November, 2006.

The exhibition consisted of an arrangement of individually and collaboratively authored installation fixtures, arenas, and works that functioned as the display architecture produced specifically for the Secession’s space.

The vocabulary inscribed by Félix González-Torres’ series of photographs Untitled (Natural History)—Patriot, Historian, Ranchman, Scientist, Soldier, Humanitarian, Author, Conservationist, Naturalist, Scholar, Explorer, and Statesman parenthesized the exhibition. The photographs were hung on the gallery’s permanent walls.

Produced on the occasion of Manfred Pernice’s exhibition Tutti IV at the Haus der Kunst, München, 18 October 2013—21 September, 2014.

Produced on the occasion of the exhibition Thea Djordjadze: Se souvenir et témoigner at MAMC+, Saint-Priest-en-Jarez, 5 February–15 May, 2022.The publication unveils materials, archives and writings from the artist in the first part, while the second combines exhibition views from the Gropius Bau in Berlin and the Musée d’art moderne et contemporain de Saint-Étienne to apprehend her sense of installation and composition in two opposite spaces. An interview with the artist by MAMC+ director Aurélie Voltz and an essay by the art historian Thomas Boutoux.

Produced on the occasion of the touring exhibition Ways of Attaching, the first institutional survey exhibition of American artist Rosemary Mayer at Swiss Institute, New York; Ludwig Forum, Aachen; Lenbachhaus, Munich and Spike Island, Bristol over 2021–2023.

Ways of Attaching provides an overview of the artist’s work, moving from early conceptual experiments of the late 1960s through to textile sculptures and drawings made in the early 1970s, before focusing on propositional and durational performances and temporary monuments made from 1977 to 1982.

Edited by Eva Birkenstock, Laura McLean-Ferris, Robert Leckie, Stephanie Weber.

You can see a conversation between Nick Mauss and Kathy Halbreich on Mayer’s work here.

Recorded documentation of a reading that took place in Berlin in April 2021. Jimmie Durham reads from his books Columbus Day 1983, Poems That Do Not Go Together 2012, and Particle/Word Theory 2020, as well as other, unpublished poems. The record includes an accompanying booklet with drawings by Jimmie Durham and a text by the poet Ammiel Alcalay, who locates Durham’s poetry in American literature.

Jimmie Durham was an artist, poet, essayist and political activist. In 2019 he was awarded the Golden Lion for his life’s work at the Venice Biennale.