Sandra Mujinga’s recent exhibition at Bergen Kunsthall presented a large-scale video installation together with a selection of sculptural works and photographs. Drawing on Afro-futurist strategies, the exhibition investigated concepts of invisibility as survival strategies, both as a speculative gaze at the future and in relation to the political reality of our time. The exhibition was Mujinga’s largest solo-presentation to date and will also be on view at Vleeshal, Middelburg, 20.9 – 13.12.2020. This book includes a specially produced visual essay, conceived as an animation in book form. The images are stills from footage captured of an elephant outside of Johannesburg, digitally treated and presented as a series of close-ups of the elephant’s skin. The publication features contributions by Sandra Mujinga, Wong Bing Hao, Tamar Clarke-Brown, Olamiju Fajemisin and Jessica Lauren Elizabeth Taylor and has been has been designed by Studio Manuel Raeder. Published by BOM DIA BOA TARDE BOA NOITE, Bergen Kunsthall and Vleeshal. ↑ ↓ ↓

Naufus Ramírez-Figueroa: Requiem for Mirrors and Tigers catalogues the trajectory of a cycle of performances of the same name, through which the artist Naufus Ramírez-Figueroa attempted to exhaust his interest in the Guatemalan Civil War as a recurring subject of his work. Designed by Studio Manuel Raeder and published by If I Can’t Dance with BOM DIA Books, the publication documents the six performances in the cycle via foldout colour posters of each work, and an essay by Frédérique Bergholtz and Susan Gibb which offers descriptions of each performance alongside a reflection on the cycle as a whole. ↑ ↓ ↓

This book is an overview of the exhibition program of Bart van der Heide from 2010 – 2015, which he realised as the director of Kunstverein München. Each exhibition is presented by a corresponding booklet, containing all texts and images. These accompanying publications were designed individually for each exhibition in cooperation with Studio Manuel Raeder. The different designs play with various fonts, formats, and graphic elements. Together with these publications, a variety of coloured images of exhibition views conveys the curatorial direction as well as the identity of the Kunstverein in those years. A reflection by Bart van der Heide and all booklet texts are included in both German and English. ↑ ↓ ↓

This catalogue accompanied the exhibition La Letra E está por doquier organized by Studio Manuel Raeder in collaboration with the Centro de Diseño in Oaxaca, Mexico and, subsequently, on display at the Archivo Diseño y Arquitectura in Mexico City, the Kunstverein München and Galerie Neu, Berlin. Two open structures of wooden cubes displayed a selection of catalogues and artist books produced by, and central to the practice of the Berlin based design studio over the the last decade. The publications were exhibited spatially amongst collected and found objects, such as pieces of Barro Negro (Black Clay) – a style of pottery originating from Oaxaca, which the designers collected during their interaction with local artisans and ancestral craft techniques. ↑ ↓ ↓

This publication, designed by Studio Manuel Raeder in close dialogue with Pedro Barateiro, is published after the exhibition Palmeiras Bravas / The Current Situation at the Museu Coleção Berardo in Lisbon from February 11 to May 24, 2015. The works exhibited were conceived specifically for this occasion and were linked by several narratives to produce a disturbing view of the current state of affairs of the culture in which we live. The book manages to register the installation, described by Pedro Lapa, curator of the exhibition and author of the main essay. ↑ ↓ ↓

Makulatur, a German word that derives from lat. maculatura ’something stained’, refers to misprinted paper that is discarded at the beginning of the printing process as use- and worthless. In 2010, the graphic designer Manuel Raeder started to collect and preserve misprinted sheets of all the publications he designed not only for his own publishing house BOM DIA BOA TARDE BOA NOITE but also for fellow artists and institutions. These original waste paper sheets, with different qualities and grammatures, – trails, testy or stains – were combined to a new volume as a compilation of maculae ’stains’. Thus, dissolving the spoiled material from the realm of invisibility and displays it to the public whereby the Makulatur book reveals and reflects on the conventions of a book. ↑ ↓ ↓