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Conceived in close collaboration with Shimabuku as an extension of his exhibition The 165-metre Mermaid and Other Stories at Villa Paloma in 2021, this new publication tells of the poetic actions conducted during his travels, between his native Japan and Monaco via Brazil, Australia, and many other lands. The artist’s texts form the narrative thread of a subsequent ensemble of installations, films, sculptures and photographs made over the last thirty years. Three essays never published before have been written for the occasion by art critics and curators Nicolas Bourriaud and Claire Le Restif as well artist Rirkrit Tiravanija. As an introduction, Célia Bernasconi, curator of the exhibition, traces Shimabuku’s artistic adventures through a logbook, therefore, confronting the epidemic context. Through the logbook, she reviews productions made by Shimabuku in Monaco in 2021, amongst which the totemic work Erect is featured on the cover of the book. Language: English, French Size: 250 x 178 mm Pages: 300 Illustrations: Color Format: Softcover ISBN: 978-3-96436-031-1 Editor: Célia Bernasconi, Shimabuku Texts: Célia Bernasconi, Nicolas Bourriaud, Claire le Restif, Rirkrit Tiravanija Designer: Studio Manuel Raeder Co-publisher: Nouveau Musée National de Monaco

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Morceaux choisis is the first seminal overview of Saâdane Afif’s artistic practices. The publication features 48 exhibitions or performances organized in 28 separate sections, covering a period of 14 years. Starting with Melancholic Beat at Museum Folkwang, Essen in 2004 and leading up to the recent exhibition Musiques pour tuyauterie, at mor charpentier, Paris in 2018, the monograph considers the format of the exhibition as Saâdane Afif’s medium, through which his work takes form and can be read. Each one of the figuring exhibitions form an individual booklet: the pages with full color reproductions of the individual works and installation views are inserted within four additional pages providing the exhibition’s title, description, details and captions. These 28 booklets form the body of the publication. The exhibition texts have been written by Lily Matras and Yasmine d’O. They are accompanied by an interview of Saâdane Afif by Lili Reynaud-Dewar, two critical texts by Zoë Gray and Jörn Schafaff, an index of the exhibited works and an index of Afif ’s released books and records.

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Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving image works, and their accompanying installations. Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories. Through the staging of these encounters on film, van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions. The publication is generously illustrated and brings together a wealth of texts by artists, curators, and writers who have been key interlocutors with van Oldenborgh, and who each offer in-depth observations and reflections on a work from her oeuvre. These authors include Nana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, and Grant Watson. Amateur is published in conjunction with the Heineken Prize for Art, which van Oldenborgh received in 2014 and is supported by the Mondriaan Fund. Copublished with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, and The Showroom

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This beautifully designed monograph exhibits Elisabeth Wild’s kaleidoscopic and vibrant collages. Using cutouts of commercial imagery from glossy magazines, Wild composes a dimensionless reality that is witty yet menacing, ancient yet immortal. Imagining figures that are structural and anatomical, her work presents a shimmering dream logic. Wooden totems and stone altars, woven rugs and precious stones are the cosmic architectural inhabitants that unveil the artist’s fantasies. Wild began her prolific collage production in her seventies while living in Basel shortly before she moved to Guatemala—another in a series of significant transatlantic crossings undertaken in her life. In 1938, at the age of sixteen, her family fled Vienna to Buenos Aires to escape the Nazi threat. She continued her fine-art studies in her new home, later working as a textile designer. In 1962, Wild and her family traveled back across the Atlantic, to Basel, to escape the Perón dictatorship. There she ran an antique shop. In 1996, she left for Panajachel, Guatemala, where she lived with her daughter, the artist Vivian Suter, and continued working on her collages until her death in 2020. Along with Wild’s collages, this publication includes contributions by poet Negma Coy, curator Adam Szymczyk, art educator and writer Barbara Casavecchia, art historian and critic Noit Banai, and gallerist Karolina Dankow of Karma International, all which frame the importance of this singular artist’s work and life.

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The positions adopted by Hito Steyerl in her works and texts are of key importance in any consideration of the contemporary role that art and the museum play in society. They are also crucial to experimental forays into different forms of media presentation and to the critical examination of artificial intelligence and its uses. Over the past thirty years, the artist has been tracking the way camera images have mutated, from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image and the implications this then had for the representation of wars, genocides, and capital flows. “We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand,” writes Brian Kuan Wood of the digital visual worlds that the artist presents. The book is being published in conjunction with Hito Steyerl’s survey show, which will take place in autumn 2020 at the Centre Pompidou in Paris and the Kunstsammlung Nordrhein-Westfalen in Düsseldorf. The cooperative project is funded by the German Federal Cultural Foundation.

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Accompanying our 2020-1 Haegue Yang exhibition at Tate St Ives, this beautiful exhibition book focuses on the context of the Cornish landscape and its ancient archaeological heritage as an important point of departure for Yang. A vital expansion of the ideas that punctuate the Tate St Ives exhibition, the exhibition catalogue brings together installation photography and new texts on the artist. Yang’s work combines materials, theories and cultural references to make astute and surprising connections between local contexts and wider geographies and histories. Recurring themes of migration, postcolonial diasporas, political struggle and social mobility underpin Yang’s research, culminating in a body of work that is an apposite comment on our own time. Born in South Korea in 1971, Haegue Yang is renowned for creating immersive environments from a diverse range of materials. Yang’s sculptures and installations conjure abstract narratives which play with our sensory pre-conceptions of scent, sound, light and tactility. Often using recognisable household objects, her work liberates forms from their functional context and applies new connotations and meanings to them. Interweaving industrially made objects with labour intensive and craft-based processes, Yang articulates her interest in folk and pagan cultures, and their deep connection with seasonal rituals in relation to natural phenomena.

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Published in conjunction with the solo show at Pirelli HangarBicocca, this constitutes the most complete monographic study on Daniel Steegmann Mangrané (Barcelona, 1977). Covering his work from the late 1990s to the present with over a hundred installations, drawings, sculptures, photographs and films, the catalogue includes studies by the art historians Kaira M. Cabañas and Flora Katz, and a conversation between the artist and the writer and curator Lauren Cornell as well as texts by Nathalie Ergino, director of the Institut d’art contemporain (Villeurbanne/Rhône-Alpes), and the curators of the show at Pirelli HangarBicocca, Lucia Aspesi and Fiammetta Griccioli. Daniel Steegmann Mangrané’s work is characterized by a poetic approach in which geometric and abstract forms intersect with natural elements and originate an imaginary realm with recurrent motifs like leaves, trees and insects that prompt reflection on the reality we inhabit. The artist uses different media for the creation of his works, according priority to a modus operandi whereby technical characteristics are intrinsically intertwined with the process of production. Mangrané’s interest in biology has led him to investigate complex ecological systems and introduce the natural world into his works with numerous references to the rain forest in Brazil, including branches, leaves and insects. Combined with geometric shapes and abstract motifs, these prompt reflection on the complex dynamics of the elements surrounding us.

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"It is no longer we who cross the land, the border, the sea; they are the ones who cross us." Marco Godinho’s exhibition Written by Water was an all-the-more impressive research how we move today in a world engaged with current migration issues and its relation with the sea. Written by Water is a geopoetic odyssey that takes the reverse path of today’s migratory routes across the Mediterranean, the cradle of modern society and birthplace of founding narratives that underpin our common heritage. The documentation of the exhibition is accompanied by seven essays, which are just as thought-provoking and a wide range of singular works and recent exhibitions of the last fifteen years. Born in Portugal and dividing his time between Paris and Luxembourg, MARCO GODINHO (*1978, Salvaterra de Magos) studied in Nancy, Lausanne, and Düsseldorf. Since 2006 his work has been shown in solo exhibitions and several group exhibitions, including at the Centre Pompidou, Metz; the CCK – Centro Cultural Kirchner de Buenos Aires; and at The Cube & VT Artsalon, Taipei.

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TUFF LOVE is an exhibition with work by Karl Holmqvist at the Power Station Dallas, April 13 – June 15, 2016. It consists of two large-scale sculptures in a site-specific installation, a short film, a live performance and an artist’s book, designed by Studio Manuel Raeder specially for the exhibition. “Through readings, sculpture, painting, installation and performance, Holmqvist’s work is given along with and in language, not formed separately from it. Here, words sourced from pop culture and their subsequent arrangement and intonation are prioritized over their literal meaning or origin. Spoken words take on the volume of sculpture. A word is a sculpture a sculpture a word. Holmqvist’s interest in the structural composition of words draws from the capacity for the re-signification of language through multiple forms of deployment.”

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In the style of a catalogue raisonné, Reto Pulfer’s comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist’s work over the past fifteen years. Excerpts from the artist’s novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer’s technical drawings, one-off exhibitions, large-scale installations, and performances. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself.

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Prefaced by art historian André Rottmann, the volume features new essays by scholar Rhea Anastas and artist/critic Melanie Gilligan that insightfully survey Pryde's work over the last two decades, providing in-depth discussions of the artist's continuous engagements with photographic imagery, visual culture, social and artistic conventions, as well as political issues associated with feminism (among other concerns). An illustrated exhibition chronology and detailed bibliography provides further information on the artist's career. Featuring more than 350 color images, this most comprehensive monograph available on Pryde's work to date appears subsequent to the artist's mid-career survey exhibitions at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, and at Kunsthalle Bern in 2012.

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This publication El Plástico, the Sun that lives inside the Rock is an observation on evolution of material plasticity, it is a story about plastic whose native land is Mesoamerica. It explores the past, present and future of plastic through encounters with various people — a weaver from Oaxaca, a taxi driver, a sociologist working on trash collection in Mexico City and the owner of a small family-run plastic factory. The book contains a polymorphous project resulting from several years of research by artist Viktorija Rybakova and designer Goda Budvytytė, it also includes a conversation between philosophers Kristupas Sabolius and Catherine Malabou, and essays by Post Brothers and Chris Fitzpatrick.

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The palindromic title of Brazilian artist Carla Zaccagnini's no, it is opposition. hints at its conceptual structure, which she describes as "forking paths and crossroads." The book documents an exhibition which the viewer enters twice, encountering the same work again, but differently. The exhibition catalogue reflects the palindromic nature of the exhibition, mirroring itself and the exhibition in both structure and form.

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Die Ausstellung Optik Schröder II zeigt einen repräsentativen Querschnitt durch die Sammlung von Alexander Schröder. Mit wichtigen Arbeiten von Kai Althoff, Tom Burr, Bernadette Corporation, Claire Fontaine, Gelitin, Isa Genzken, Anne Imhof, Sergej Jensen, Pierre Klossowski, Manfred Pernice, Martha Rosler oder Reena Spaulings zählt sie zu den profiliertesten deutschen Privatsammlungen für Gegenwartskunst. Anhand der Werke lassen sich einige bestimmende konzeptionelle Tendenzen und Setzungen in der westlichen Kunstentwicklung der vergangenen drei Jahrzehnte ablesen: der Bezug auf das Soziale, queeres Leben, Institutions- und Ökonomiekritik, die Auseinandersetzung mit öffentlichen Räumen und Architektur, Poesie oder aktuelle Formen der Kritischen Malerei. Gerade an den prominent vertretenen kunstschaffenden Kollektiven zeigt sich das Bestreben, tradierte Rollenverständnisse des Künstlers, der Kunstproduktion sowie der Vertriebswege strukturell zu unterlaufen beziehungsweise zu transformieren. In diesem zusammenfassenden Überblick wird ein Sammlungscharakter sichtbar, der sich seit Mitte der 1990er-Jahre durch eine große Nähe zu den Künstler_innen und eine Sensibilität für neue Entwicklungen kontinuierlich ausbildete. Die Sammlung steht exemplarisch für eine Philosophie des Sammelns, die sich auf Zeitgenossenschaft, Neugierde, Kennerschaft, Humor, Eigensinn und ein herausragendes ästhetisches Gespür gründet.

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Since the mid-1990s, Sergej Jensen (born in Copenhagen in 1971) has been offering one of the most remarkable responses to the question of what painting can still be today. Painting in the classical sense plays only a minor role: in lieu of canvas, Jensen uses jute, coarse cotton, and jeans. He incorporates spots on fabrics which turn the “expressive gesture” of his paintings into a sign of wear from real life. Jensen sews fabrics together leaving the seams visible to evoke the fleeting impression of a drawing and he colors others with gouache, acrylics, and markers, but Jensen more often applies materials foreign to painting, such as patches, paper money, spices, beads, and glitter. Hanging his fabrics from windows, Jensen lets the sun and rain contribute a patina and treats them with chlorine and paints mixed with bleach to reduce their brilliance.

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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.

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In this exhibition at Hamburg Bahnhof, the artist devotes herself to the "biographies of things." She directs her attention to objects in museum collections, where it is not unusual for them to have "spent itinerant lives wandering between courtyards, basements, pedestals, display cases, museums, traveling exhibitions and private collections." (Mariana Castillo Deball)

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Hélio Oiticica (1937–1980) altered the Brazilian art scene, and his works broke with accepted conventions. His oeuvre was of great importance to the breakthrough of Tropicália, the cultural movement that protested the repressions of the military regime. Experiment, proposition, participation and environment are the key words that place Oiticica’s art firmly in the 1960s and 1970s. Coming from painting, he developed into one of the protagonists of a new concept of art: he actively involved the viewer in the presentations of his multimedia works, while the works--colorful, accessible, tangible, or wearable like a piece of clothing--filled the space. (...)

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Rodrigo Hernández’s first larger publication depicts several paths around his sculpture “Figure 1”. Seven writers, invited to collaborate on this publication, reflect on his artistic practice and on this particular work and conform the spine of this book. Accompanied by both recent and earlier works, these new texts offer the reader to look from different angles at his poetic oeuvre. The catalogue has been published on the occasion of Rodrigo Hernández’s solo exhibition “I Am Nothing” at the Heidelberger Kunstverein (17.9.–20.11.2016) with the support of the Ministry of Science, Research and the Arts Baden-Württemberg.

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For her first solo exhibition in Asia, Canell made research into the production and distribution of fiber optic sheaths in the outskirts of Seoul, where cable mounds are sorted according to colour and eventually remoulded into the synthetic circumferences of future relations. Literally caught in between melting and being repurposed, several hundred meters of gutted sheaths are compressed into dense lumps of immaterial distance. The accompanying book consists of ten short new texts around which fragments of communication with the authors have been punctuated by observational photographs and sculptural documentation. Contextualized by both recent and earlier works, the exhibition and book considers sculpture as a medium of storage, transmission and reception.

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Abraham Cruzvillegas’s investigates the relationship between materiality and the narrative of places with his aesthetic concept of autoconstrucción, reconstrucción and autodestrucción, for what he experiments with video, performance, personal and family archives, as well as academic research. His project Autodestrucción6: Chichimecachubo: Matzerath@S13, 2014 at Gdansk City Gallery 2 refers to the story of Oskar Matzerath, the protagonist of Günter Grass’s novel The Tin Drum, a literary narrative originating from Gdansk. Based on Mazerath’s piercing scream he linked this fiction to the real story of Mexican composer Julián Carrillo, a pioneer of microtonality.

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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.

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This publication is printed on the occasion of Haegue Yang’s solo exhibition of the same title at La Panacée – MoCo in Montpellier. Chronotopic Traverses brings together unexpected arrangements of Yang’s versatile sculptures of various materials against a backdrop of a panoramic and dramatic wallpaper titled Incubation and Exhaustion (2018, in collaboration with Manuel Raeder). The sense of being immersed is omnipresent, through the scent of pepper leaves and stems in every corner of the exhibition spaces and a 30-minute long recording of bird sounds that originated from the April 2018 inter-Korean summit in the Korean Demilitarized Zone. Interwoven by both organic and artificial elements, the exhibition attempts to cross time and space.

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Neither the book is a publication that arose from Neither the exhibition, curated by Fernanda Brenner in 2017 to inaugurate the Brussels gallery of Mendes Wood DM. Yet Neither the book is not a documentation of Neither the exhibition. Instead a selection of the artists who exhibited have been invited to produce new works for the page that, alongside a fictional history of the gallery’s new European home, written by Oliver Basciano, mingle with a photographic commission from Mauro Restiffe. They, like the exhibition, evoke a space somewhere between moving in and feeling at home, a capturing of a place that was no longer a family abode and not yet a fully functioning commercial gallery. By taking this conscious pause—respecting the distance and the journey of an exhibition from idea to materialization to memory—Neither the book hovers and loops between proposal, scrapbook and diary.

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Dissected into five colours in motion – all at once skin, gesture, word, voice – this first trilingual monograph by Elise Florenty and Marcel Türkowsky focuses on five film-projects investigating different layers of consciousness and power relations that blur the modern boundaries between the animate and the inanimate, the verbal and the non-verbal, the dream and the awake state. Each project unfolds minor situations in marginal zones – from Mississippi to the Aegean Sea, Brazil to Japan and Eastern Ukraine – where the human and the nonhuman – an imaginary river, an amazonian parrot, a speaking cactus plant or cannibal electrons – often meet to bring back “social-utopic” experiments and the part of future that seems to have been buried with them. The catalogue was published on the occasion of the exhibition Inter-passion by Elise Florenty and Marcel Türkowsky at Grimmuseum, Berlin (February 4–March 18,2017) with the support of the Cnap and Stiftung Kunstfonds.

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"All my pictures require no additional interpretation. They are suitable as a model for the viewer's imagination. My life's work is to produce pictures whose imagination immediately renews the diminished life efficiency of the viewer after any type of interruption." (Dietrich Orth).

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Group Affinity reflektiert eine experimentelle Sommerschule, die 2011 im Kunstverein München stattfand und in Zusammenarbeit mit Casco organisiert wurde (siehe Group Affinity). Fünf unabhängige Kollektive oder Gruppen - Andreas Müller & Susanne Pietsch, Chicago Boys, Cinenova, Grand Openings sowie Slavs and Tatars - leiteten die Fakultäten und setzten ihre jeweiligen selbstorganisierten Praktiken sowie Forschungs- und Arbeitsprozesse in Curricula für die Teilnehmer um.

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Figures of Perception is a result of the artist Ebbe Stub Wittrup’s solo exhibition at Villa Salve Hopes at Kunstverein Braunschweig in Germany in 2016. The publication is both a catalogue and a perspective of the artist’s practise of the past 10 years. The book was developed in collaboration with Kunstverein Braunschweig. In addition to a large number of work illustrations, the book offers text contributions by the curator of Kunstverein Braunschweig, Jule Hillgärtner, and Aline Fieker, curatorial assistance, as well as an essay by Helmut Zander, professor of religious studies at the Université de Friborg in Switzerland

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The catalogue of the duo's exhibition at CAPC, featuring a new site-specific work and a series of performed or filmed actions. A project about situations of reversal, confronting the exogenous realities of the enterprise, the working-class, and the museum.

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The writings of Brazil’s most important postwar artist Hélio Oiticica (1937–1980) altered the Brazilian art scene, and his works broke with accepted conventions. His oeuvre was seminal for the breakthrough of Tropicália, the cultural movement that rebelled against the reprisals by the military regime. Experiment, proposition, participation, and environment are the key words that place Oiticica’s art firmly in the sixties and seventies. Coming from painting, he developed into one of the protagonists of a new concept of art: he actively involved the viewer in the presentations of his multimedia works, and he opened up space with works that were colorful, accessible, tangible, or wearable like a piece of clothing. This participatory art with event character is related to the democratization of the concept of art as conceived by Joseph Beuys and Andy Warhol. The writings and notes by Oiticica that have been assembled in this in publication constitute a fascinating document on the transition from modern to contemporary art.

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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.

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Photographs by Rubén Ortiz Torres document the wide range of Latin American art in the collections of Carl Baldwin’s Velvetería, April and Ron Dammann, E. Michael ‘Baltazar’ Díaz, Betty Duker, Armando and María Durón, Alonso Elías and Patricia Fontes Rosas de Elias, Lêda Leitão Martins, Nicholas Pardon, Tom Patchett, Sammy Sayago, Dan Segal, Enrique Serrato, Billy Shire, Esperanza Valverde, Elisabeth Waldo, Richard and Rebecca Zapanta, the Stendahl Gallery, and Bill London’s Pedorrero Muffler repair shop. Six essays explore the cultural, political, and social histories of Latin American art and artifacts in Southern California collections, including Matthew H. Robb’s sleuthing on the pre-Columbian as MacGuffin in mid-century Los Angeles, Ana Elena Mallet on Taxco Silver in California, Jesse Lerner on the meeting of ancient and modern in the Arensberg collection, Selene Preciado on Chicano art collections and collectors, Rubén Ortiz Torres on the Pedorrero, and Amy Sánchez-Arteaga and Misael Díaz on the Elías Fontes collection.

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Views on Misunderstanding is the first monograph of Musa paradisiaca’s work spanning its universe to-date. Richly illustrated, and composed using a process of accretion of works realised in different media — sculptural, pictorial, textual, or sound-based — the images establish dialogues that would otherwise be inaudible. Conveying a series of voices gathered from and around Musa paradisiaca, the publication includes newly commissioned essays by Caustrino Jesus de Alcântara, Sofia Lemos, Maria Filomena Molder, Marco Pasi and Claudia Pestana, as well as short-form dialogues between Elfi Turpin, Filipa Oliveira, Luís Silva and João Mourão.

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The publication focuses, in a very precise but also circumscribed manner, on a specific aspect of Christoforos Savva’s work that is beyond the artist’s control: the artwork’s presence in the world. The moment the work leaves the studio and goes into the world is, quite often, when artists themselves find out whether it has sufficient autonomy and strength. In Savva’s case and particularly in the case of such a fragmented photographic archive – and, therefore, so fascinating and suggestive – as the one presented in the book, the glimpses of his work in contact with the world over time silently witness and reflect the transformations of a society. Looking at, often blurred or slightly crooked, amateur photographs is a way to reaffirm that what matters, when one faces the work of Christoforos Savva, is not only or not so much individually looking at each painting, yfasmatography, or relief on its own, but also looking at the world around them.

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“Invited by Lucie Stahl to respond to her gorgeous and trashy collaged posters, I look back in my diary and am surprised by the number of parallels in our dreams and notations. I’ve never met Lucie Stahl but we live in the same world: oil spills, palm fronds, novelty key chains, sports beverages. Like me, she’s a self-appointed reporter. Stahl’s posters begin with her odd inclination to write down fragments of overheard conversations, ambient thoughts and fleeting anxieties that – once preserved (and obsessively so, under buckets of chemical gloss) function as video-grabs from the deluge of information that we understand, more or less, to comprise consciousness.” (Chris Kraus)

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The first in-depth survey of Duarte's practice, and the first time that a selection of his poems and texts have been translated into English.

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Door Between Either And Or is compendium of a multifarious project initiated by Kunstverein München director Bart van de Heide in 2013/14, which included an exhibition at Kunstverein München and seminars and satellite events in Munich, London, and New York City. The goal was to reconsider binary distinctions in the early 21st Century, to confront how such oppositions operate at the foundations of capitalism, gender, sexuality, and our cultural institutions, and to survey how these divisions have increasingly eroded in our contemporary moment.

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This publication is based on the exhibition of the same name hosted by the Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz e.V., Berlin, April 28 to June 24/August 19, 2017. Accompanying the two major neon sculptural installations from that exhibition, The Statisticon Neon and Pizzagate, it is an analysis of the emerging political conditions of late-stage cognitive capitalism, conditions in which the brain and mind exist as the factories of the 21st century. Of particular interest in this analysis is the brain’s neural plasticity, and the role of new technologies in harnessing its potential. Also crucial is the role of art in creating new, distinctive methods, atmospheres, and intensities with which to thwart new methodologies of subsumption.

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In the trilogy of videos portraited in this book, Insight, Suspension and The Lost Object, the artist invites us to suspend ourselves in a dream-like scenario dominated by lighting effects. We do not enter a dark room but an atmosphere subject to the different beams of light shining all around us. That is the point, to throw light on the unknown, or on what we take for granted as natural when in fact it is nothing more than an impoverished fallacy. Or maybe it is simply about shining a light on ourselves as subjects and returning to the true essence of things: beauty, surprise, novelty and illusion. The unknown.

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