PUBLICATIONS Autumn 2012

PUBLICATIONS Autumn 2012 CORNERHOUSE PUBLICATIONS AUTUMN 2012 INDEX TO FEATURED PUBLISHERS Cornerhouse provides a specialist sales and distribution service for many of the most innovative publishers, galleries and museums working in contemporary visual arts. Our list encompasses all the visual arts including architecture, art theory and education, design, GLJLWDOPHGLDIDVKLRQ¿OPDQGYLGHRSDLQWLQJSHUIRUPDQFHSKRWRJUDSK\DQGVFXOSWXUH We have over 2,800 titles currently available. If you require further details or if you want to place an order please contact us or visit our online bookstore. Art Editions North Artangel Aspex Bluecoat British Council Chinese Arts Centre Coracle Cornerhouse Ffotogallery Firstsite Forma FutureEverything GlobalArtAffairs Publishing Haunch of Venison Hayward Publishing Henry Moore Institute Ikon Gallery Information as Material John Hansard Gallery JRP|Ringier* Kerber Verlag** Verlag der Buchhandlung Walther König Lisson Gallery Manchester City Galleries Matt’s Gallery Verlag für moderne Kunst Nürnberg The New Art Gallery Walsall New Contemporaries (1988) Ltd Parasol unit Picture This Rakennustieto Publishing Research Group for Artists Publications Richter & Fey Verlag Ridinghouse Shisha Stour Valley Arts For further information about our services, please contact Paul Daniels, Publications Director. Cornerhouse Publications 70 Oxford Street, Manchester M1 5NH, England Publications Director Paul Daniels orders / customer services contact trade orders / enquiries mail order / enquiries general enquiries fax email online bookstore Debbie Fielding, James Brady or Suzanne Davies +44 (0)161 200 1501 +44 (0)161 200 1502 +44 (0)161 200 1503 +44 (0)161 200 1504 publications@cornerhouse.org www.cornerhouse.org/books TRADE TERMS Please email orders to publications@cornerhouse.org Standard discount 35%. A small order surcharge of £3.00 will be added to orders of less than £25 invoice value. UK orders carriage free. Overseas carriage charged at cost. RETURNS Returns by permission only. In case of damage, defect or dispatch error please contact Cornerhouse Publications at the address above. Authorised returns must be sent to: Cornerhouse Returns, c/o NBN International, Airport Business Centre (ABC), 10 Thornbury Road, Plymouth, PL6 7PP, England. 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GB125522146 Reg Charity no. 514719 Cornerhouse is Greater Manchester’s international centre for contemporary visual arts DQG¿OP/RFDWHGLQWKHKHDUWRI0DQFKHVWHU8.WKHFHQWUHKDVÀRRUVRIFRQWHPSRUDU\ DUWJDOOHULHVFLQHPDVFUHHQVDEDUFDIpDQGERRNVKRS)RUZHHNO\XSGDWHVRQ¿OPV exhibitions, events and the latest news, log on to www.cornerhouse.org While every effort has been made to ensure that the contents of this catalogue are accurate, all details are subject to change at any time and without notice. Cover image: Mel Bochner, Blah, Blah, Blah, 2011 (detail). Oil on velvet (ten panels). Overall: 284.5 x 533.4 cm | 112 x 210 in. © Mel Bochner 2012, courtesy Ridinghouse, London 1 1 2 2 2 3 3 4 5 5 6 7 7 7 8 9 9 11 11 12 23 28 40 41 42 42 46 46 46 47 48 48 48 50 52 52 *JRP|Ringier titles are distributed by Cornerhouse in the UK and Europe (excluding Germany, Austria, Switzerland and France) **Kerber Verlag titles are distributed by Cornerhouse in the UK, Scandinavia and Eastern Europe Cornerhouse also distributes titles for the following publishers: $UQRO¿QL_$UWDQG6DFUHG3ODFHV_7KH$UWV&DWDO\VW_$UWV&RXQFLO(QJODQG $XWRJUDSK$%3_$\H$\H%RRNV_%HDP_%ODLQ_6RXWKHUQ_&DPHUDZRUN 7KH&DUDYDQ*DOOHU\_&DVWOH¿HOG*DOOHU\3XEOLFDWLRQV_&HQWUHIRU$UW ,QWHUQDWLRQDO5HVHDUFK&$,5_&HQWUHIRU&RQWHPSRUDU\$UWV&&$ &RQWURO0DJD]LQH_7KH'UDZLQJ5RRP_'X0RQW%XFKYHUODJ_eGLWLRQV 5HYXH1RLUH_(QJDJH1DWLRQDO$VVRFLDWLRQIRU*DOOHU\(GXFDWLRQ_,QVWLWXWH RI&RQWHPSRUDU\$UWV,&$_,QVWLWXWHRI,QWHUQDWLRQDO9LVXDO$UWV,QLYD ,QYHQWRU\_.KDGLMD3URGXFWLRQV_/HQ*UDQW3KRWRJUDSK\_/LYHUSRRO%LHQQLDO /RZU\3UHVV_0DQFKHVWHU0HWURSROLWDQ8QLYHUVLW\_0HDG*DOOHU\_0LOWRQ .H\QHV*DOOHU\_0RGHUQ$UW2[IRUG_1DWLRQDO0XVHXPV/LYHUSRRO_3KDURV $UWV)RXQGDWLRQ_3KRWRZRUNV_6DDWFKL*DOOHU\3XEOLFDWLRQV_6DLQVEXU\ &HQWUHIRU9LVXDO$UWV_6DORQ_6LWH*DOOHU\_6RXWKDPSWRQ&LW\$UW*DOOHU\ 7DWWRQ3DUN%LHQQLDO_7UDPZD\_7XUQSLNH*DOOHU\_hPUDQ3URMHFWV 8QLYHUVLW\RI+HUWIRUGVKLUH*DOOHULHV_8UELV_9HOYHW3UHVV_9LHZSRLQW 3KRWRJUDSK\*DOOHU\_7KH:HOOFRPH7UXVW_:LWWHGH:LWK Art Editions North distributed by Cornerhouse world-wide Ant Macari Kelly Richardson Legion texts by Kelly Gordon, Alistair Robinson, Holly Hughes, Louis Grachos, Ryan Doherty edited by Alistair Robinson, Ryan Doherty Ant Macari is one of the most exciting young artists in England, working across every conceivable medium, from drawing and wall drawing, installation, sculpture, performance, and video. Macari was one of the few British artists to be selected by the New Museum, New York as one of the most promising artists worldwide under 32 for their exhibition and catalogue, Younger Than Jesus, and has had a solo show at Baltic, performed at Tate Modern, and been awarded commissions by Project Space Leeds, Locus+, Side, the Grundy Art Gallery and Leeds Art Gallery amongst others. His work has drawing and writing at its centre. It makes reference to different orders of image-making and myths, from tattoo and outsider art to heraldry and medieval illuminated manuscripts. By combining different sources and genres, Macari encourages a close reading of the cultures he makes reference to. Canadian artist Kelly Richardson is one of the leading representatives of a new generation of artists working with digital technologies to create hyperreal, highly charged landscapes. Richardson creates video works that imagine an array of possible futures for humankind. She draws on the imagery of science- ¿FWLRQFLQHPDOLWHUDWXUHDQGWKH history of landscape painting to visualise the kinds of relationships mankind may yet have to the natural world. Richardson has been selected for the Beijing, Gwangju and Busan biennales, and collected by major museums across the USA and Canada, from the Hirshhorn Museum Washington to the Musée d’art contemporain de Montreal. This book is a comprehensive look at her work to date. It accompanies a touring exhibition Legion initiated by Northern Gallery for Contemporary Art with Grundy Art Gallery, Blackpool;; Towner, Eastbourne;; Albright-Knox Art Gallery, Buffalo;; and the commission of Mariner 9 by Tyneside Cinema. Art Editions North £10.00 ISBN 9780954911973 softback 80 pages 48 illustrations 220 x 170 mm Art Editions North £20.00 ISBN 9780954911966 hardback 148 pages 84 colour illustrations 220 x 280 mm texts by Richard Grayson, Neil Mulholland, Alistair Robinson Artangel distributed by Cornerhouse in the UK Yael Bartana And Europe Will Be Stunned The Polish Trilogy texts by Jacqueline Rose, Boris Groys, Joanna Mytkowska, Adi Ophir, Ariella Azoulay edited by Eleanor Nairne And Europe Will Be Stunned EULQJVWRJHWKHUIRUWKH¿UVWWLPHWKH FRPSHOOLQJWULORJ\RI¿OPVPDGHE\ Yael Bartana in Warsaw in Poland between 2007 and 2011. The same \HDU%DUWDQDEHFDPHWKH¿UVW non-national to exhibit in the Polish Pavilion at the 54th Venice Biennale. Revolving around the activities of the Jewish Renaissance Movement in Poland, a group that calls for the return of three million Jews to 3RODQG%DUWDQD¶V¿OPVWUDYHUVHD landscape scarred by the histories of competing nationalisms and nightmares across Europe and the Middle East. An extensive sequence RIFRORXUVWLOOVIURPWKHWKUHH¿OPV – Mary Koszmary (Nightmares), Mur i Wieza (Wall and Tower), and Zamach (Assassination) – is accompanied by transcriptions of the VSHHFKHVLQWKH¿OPVDQGYDULRXV essays. Co-published by Artangel with Ikon, Birmingham;; Louisiana Museum of Modern Art, Humlebaek;; Museum of Modern Art Warsaw;; Van Abbemuseum, Eindhoven. Artangel £29.95 ISBN 9781902201269 hardback 160 pages illustrated in colour and b&w 245 x 305 mm 1 AUTUMN 2012 aspex distributed by Cornerhouse world-wide the Bluecoat distributed by Cornerhouse world-wide British Council distributed by Cornerhouse world-wide Chinese Arts Centre distributed by Cornerhouse world-wide A Hundred Seas Rising Humancraft: Contaminating Science with Art Venice Takeaway Institution for the Future Suki Chan edited by Joanne Bushnell, Suki Chan A Hundred Seas Rising explores how literature might be implicated in the imagination and trajectories of revolutions. Inspired by Dickens’ A Tale of Two Cities and the Hundred Flowers Movement in 1950s China, Suki Chan asked 100 contributors, of all ages and diverse backgrounds, ‘What is your revolution?’ Their recorded responses could be heard as part of a large sound installation and can be read within the publication alongside exhibition images and related texts. Suki Chan was born in Hong Kong and lives and works in London. She graduated from Goldsmiths in 1999 and completed an MA in Fine Art at Chelsea School of Art in 2008. Her recent solo shows include Sleep Walk Sleep Talk, a major video installation commissioned by Film and Video Umbrella, shown at Hiroshima Museum of Contemporary Art and the Museum of London. Published to coincide with the exhibition A Hundred Seas Rising at aspex, Portsmouth, 18 May – 2 September 2012. aspex £18.00 tbc ISBN 9780955025846 softback 100 pages tbc illustrations tbc 210 x 148 mm 2 Gina Czarnecki texts by Sara-Jayne Parsons, Bronac Ferran, Gina Czarnecki, Sean Cubitt *LQD&]DUQHFNLPDNHV¿OPV installations, public art works and VFXOSWXUH+HUZRUNLVLQÀXHQFHG by the arena of biomedical science and it explores notions of belief and thresholds of perception. Czarnecki’s ZRUNVUDLVHVLJQL¿FDQWTXHVWLRQV about developments in the ‘life’ sciences and changes in culture, society and language. Over the last three decades Czarnecki has worked in collaboration with biotechnologists, computer programmers, dancers and sound artists. Through sampling, generating and re-processing images and sound, Czarnecki transforms gallery spaces to create unique, immersive experiences. This publication does not purport to be an exhibition catalogue in any traditional sense, but rather a place to connect ideas and provoke discussion. Published on the occasion of Gina Czarnecki’s retrospective exhibition at the Bluecoat, Liverpool, 9 December 2011 – 19 February 2012. the Bluecoat £15.00 ISBN 9780953899616 softback 100 pages 51 colour, 3 b&w illustrations 209 x 170 mm Ideas to Change British Architecture texts by aberrant architecture, Ross Anderson and Anna Gibb, Darryl Chen, dRMM, Forum for Alternative Belfast, public works, Urban Projects Bureau and Owen Pritchard, Elias Redstone, Vicky Richardson, Liam Ross and Tolulope Onabolu, Patrik Schumacher, Takero Shimazaki/Toh Shimazaki Architecture, Smout Allen and BLDGBLOG edited by British Council/Architectural Association This title is published alongside the British Council’s presentation, Venice Takeaway: Ideas to Change British Architecture in the British Pavilion at the 13th Venice International Architecture Biennale, 29 August – 25 November 2012. The exhibition presents the work of 10 architectural teams that have travelled the world in search of imaginative responses to universal issues. It charts their course in Argentina, Brazil, China, Germany, Japan, the Netherlands, Nigeria, Thailand and the USA, and demonstrates the creative potential of sharing ideas across borders. Research, in the form of SKRWRJUDSK\GUDZLQJ¿OPDQG objects, is displayed as an ‘emporium of ideas’ alongside a series of polemical proposals. These take several different forms, expressing the participants’ own approaches to architecture. texts by Yoko Ono, Dorothea von Hantelmann, Tino Sehgal, Monika Szewczyk, Jun Yang, Hu Xiangqian, Hans Ulrich Obrist, Jens Hoffmann, Ade Darmawan, Michael Lee, Vandy Rattana, Dmitry Vilensky, Nikita Cai, Liu Ding, Keren Cytter, Marina Abramovic, Joao Ribas, Sam Bower, and others edited by Alex Hodby, Biljana Ciric, Sally Lai International artists, curators, and other cultural workers were invited to contribute to a collection of ideas for an institution of the future. Building an archive around the notion of an institution for the future, the publication attempts to initiate a discussion of the following across a broad professional network: What kind of institution is actually needed? What could be the actual model for an institution that we are hoping to establish in the future? These are only some of the questions that are hoped to be explored through the development of an archive of ideas. This publication shares the same title as the exhibition Institution for the Future, presented as part of the Asia Triennial Manchester, 2011, curated by Biljana Ciric and Chinese Arts Centre. &KLQHVH$UWV&HQWUH ISBN 9780954544058 softback 250 pages illustrated in b&w 175 x 110 mm The Song of the Machines Yu-Chen Wang texts by Jennifer Thatcher, Bob Dickinson, Nicolas de Oliveira/Nicola Oxley, Rudyard Kipling, Sophia Crilly, Chelsea Pettitt <X&KHQ:DQJ¶VTXDVL¿FWLRQDO book, The Song of the Machines features stories about the artist’s life DQGKHUSUDFWLFH5HDOLW\DQG¿FWLRQ are blurred through the display of new work, documentation, critical texts and creative writing. Her work explores the notion of representation, distortion and transformation, and the transitional space between them. Using a mixture of drawings, objects, LQVWDOODWLRQSHUIRUPDQFHDQG¿OP the artist constructs visual narratives to explore the concept of machines and energy, and art’s potential in dreaming of, and hoping for, a better future. Born in Taiwan and educated at Goldsmiths College and Chelsea College of Art and Design, Yu-Chen Wang lives and works in London. She has exhibited extensively including exhibitions at Cornerhouse;; FutureEverything, Manchester;; Kunstvlaai, Amsterdam;; Galerie L’Oeil de Poisson, Quebec City;; FRAC Nord-Pas de Calais, France;; Camden Arts Centre, London;; tank.tv;; ICA, London. &KLQHVH$UWV&HQWUH ISBN 9780954544089 softback 96 pages 96 colour illustrations 250 x 160 mm Coracle distributed by Cornerhouse world-wide Erica Van Horn échafaudage ‘The building is covered with scaffolding. There is a big job going RQ,WZDVVXSSRVHGWREH¿QLVKHG before Christmas but it is not yet ¿QLVKHG,WLVQRZWKHHQGRI-DQXDU\ There are men scraping and men painting and they are here and there and they are right outside the windows. In this apartment, that means they are everywhere. The apartment is very long and very narrow. There are twenty four windows all along one side, and right around the curve at one end of the building. Each time we look up there is someone at a window. Sometimes it is not really a person but the shadow of a person. Sometimes there is no one at all as they are all XSRQRWKHUÀRRUV7KHPHQWU\QRW to look at us and we try not to look at them, but inevitably we all fail.’ (Erica Van Horn) &RUDFOH ISBN 9780906630471 softback 48 pages 2 colour illustrations 180 x 140 mm %ULWLVK&RXQFLO'HVLJQWEF ISBN 9781907896248 softback tbc 200 pages tbc illustrated in colour and b&w tbc 240 x 180 mm 3 AUTUMN 2012 Cornerhouse distributed by Cornerhouse world-wide Stanya Kahn Great Lengths 2012 Cornerhouse, in collaboration with Abandon Normal Devices Festival (AND) and Susanne Vielmetter Los Angeles Projects, presents this accompanying publication on the RFFDVLRQRIWKH¿UVW(XURSHDQVROR exhibition of new and recent work by acclaimed Los Angeles artist Stanya Kahn. Using humour as a central device, It’s Cool, I’m Good presents a selection of videos and drawings, characterised by the artist’s signature blend of dark comedy, visceral characters and reluctant optimism. 6SHFL¿FDOO\FRPPLVVLRQHGIRUWKH exhibition, Kahn also premieres her latest video work Who Do You Think You Are. Kahn’s video works navigate personal trauma and resilience;; mundane interactions and casual jokes belie a deeper consciousness of environmental concerns, social and political alienation. Also featured is an interview with Stanya Kahn by Bren O’Callaghan, Visual Art Programme Manager, Cornerhouse. Published on the occasion of the exhibition Stanya Kahn: It’s Cool, I’m Good, at Cornerhouse, Manchester, 23 June – 16 September 2012. An Artist Residency on the Olympic Park artist: Neville Gabie edited by Simon Grennan Between 2010 and 2012, Neville Gabie was Artist in Residence for the Olympic Delivery Authority. Focusing on the emerging world- scale and world-class development of the Olympic Park in Stratford, east London, Gabie created a suite of new artworks that approach one of Great Britain’s largest construction projects in terms of the human body, DQGUHÀHFWXSRQWKHSHUVRQDODQG social experiences of such a huge undertaking. This book presents and illuminates the temporary artworks made by Gabie, in which representations of duration and distance draw together the physical construction of the Olympic Park and the extremities and habits of human performance. Encompassing SKRWRJUDSK\¿OPLQVWDOOHGREMHFWV durational actions and a uniquely curated historic exhibition, the artworks reveal the sheer complexity and achievement of building both an Olympic Park and creating a new resource for London, expressing the excitement, uncertainty and triumph of going to great lengths. &RUQHUKRXVH,Q6LWH$UWV ISBN 9780956957146 VRIWEDFNZLWK'9'SDJHV illustrated in colour 297 x 210 mm 4 It’s Cool, I’m Good texts by Glenn Phillips, Henriette Huldisch, Sarah Perks &RUQHUKRXVH ISBN 9780956957122 hardback 128 pages 55 colour, 32 b&w illustrations 158 x 210 mm Swandown artists: Andrew Kötting, Iain Sinclair Swandown is a travelogue and odyssey of Olympian ambition;; a SRHWLF¿OPGLDU\DERXWHQFRXQWHU myth and culture. It is also an endurance test and pedal-marathon in which Andrew Kötting (the ¿OPPDNHUDQG,DLQ6LQFODLUWKH writer) pedal a swan-shaped pedalo from the seaside in Hastings to Hackney in London, via the English inland waterways. With a nod to Werner Herzog’s Fitzcarraldo and a pinch of Dada, Swandown documents Kötting and Sinclair’s epic journey, on which they are joined by invited guests including comedian Stewart Lee, writer Alan Moore and actor Dudley Sutton. This was a perilous journey, akin to the river voyage of Bogart and Hepburn in The African Queen. It was also, for Kötting, a tribute to the legendary performer, traveller and conceptual artist Bas Jan Ader, who in 1975 was lost at sea attempting to cross the Atlantic in a pocket cruiser. Swandown was commissioned by the Abandon Normal Devices (AND) Festival and premiered at Cornerhouse, Manchester in summer 2012. &RUQHUKRXVH ISBN 9780956957139 GXDOHGLWLRQ'9'DQG%OXUD\PXOWLUHJLRQ 190 x 135 mm 1RYHPEHU Ffotogallery distributed by Cornerhouse world-wide Wonder Chamber Other Spaces Karen Ingham is an artist with a keen interest in the natural sciences and KRZVFLHQWL¿FLGHDVDQGSURFHVVHV inform contemporary image making. Wonder Chamber brings together various bodies of work produced by Ingham over the last decade in the form of ‘an imaginary museum with its interconnected spaces for the display of seemingly disparate and eclectic objects and artefacts’. A key element of Ingham’s practice is to play on and subvert the way objects are collected, archived and displayed in science museums, putting them in the service of contemporary art. Engaging with science, playfully mimicking and reconstructing its ideas and methods, the artist sheds light on the complex process of technical, biological and cultural formation that both VKDSHVRXUIXWXUHVDQGGH¿QHV human experience. Published on the occasion of the exhibition Karen Ingham: Wonder Chamber at Ffotogallery, Cardiff, 10 March – 14 April 2012. Jo Longhurst texts by Charlotte Cotton, Sara Knelman, David Drake Jo Longhurst’s new body of work develops her interest in perfection. She turns her enquiry into notions of the ideal body to the pursuit of perfect performance, exploring the physical and emotional experiences of elite gymnasts in training and competition. The works incorporate classic photographic portraiture, appropriated photographs and hybrid photographic works inspired by Plato’s perfect solids, and Popova and Rodchenko’s revolutionary experiments with aesthetic forms for the construction of a new, Utopian society. The book reveals how Longhurst worked with a body of original photographic source material, sketches and studies made as visiting artist at Heathrow Gymnastic Club and at the World Gymnastics Championships. Published to accompany the exhibition at Oriel Mostyn Gallery, Llandudno, 16 June – 30 September 2012 and Ffotogallery, Cardiff, 20 October – 8 December 2012. )IRWRJDOOHU\ ISBN 9781872771915 hardback 100 pages illustrations tbc 230 x 115 mm (QJOLVKDQG:HOVKWH[W Karen Ingham texts by David Drake, Ken Arnold, Karen Ingham )IRWRJDOOHU\ ISBN 9781872771892 softback 68 pages 65 colour illustrations 275 x 220 mm firstsite distributed by Cornerhouse world-wide Andrea Hamilton Sorry I’m Late texts by Michelle Cotton, Anthea Hamilton, Catherine Wood edited by Michelle Cotton Sorry I’m Late is a monographic publication about British artist Anthea Hamilton’s work, published E\¿UVWVLWHRQWKHRFFDVLRQRIKHU solo exhibition of the same name ¿UVWVLWH&ROFKHVWHU6HSWHPEHU – 25 November 2012). Featuring a newly commissioned essay by Tate Curator of Contemporary Art & Performance Catherine Wood and an extended interview between Hamilton DQG¿UVWVLWH¶V6HQLRU&XUDWRU0LFKHOOH Cotton, the book also includes full colour images of previous projects DQGWKHH[KLELWLRQDW¿UVWVLWH ¿UVWVLWHWEF ISBN 9780948252358 softback 72 pages illustrations tbc dimensions tbc 2FWREHU Anthea Hamilton, Pulley, 2007. Image courtesy IBID Projects, London and the artist. 5 AUTUMN 2012 Nigel Henderson & Eduardo Paolozzi Simon Periton Hammer Prints 1954–74 texts by Katherine Wood, Jes Fernie texts by Michelle Cotton, Lesley Jackson, Robin Spencer edited by Michelle Cotton In 1954 artists Nigel Henderson and Eduardo Paolozzi formed a creative partnership under the company name of Hammer Prints Limited. Over the course of the next seven years, the two artists established a commercial venture, collaboratively designing patterns and working with industry specialists to produce wallpapers, fabrics, ceramic tiles, furniture and tableware using their designs. Published on the occasion of the H[KLELWLRQDW¿UVWVLWH'HFHPEHU± 24 February 2013, which charts the history of Hammer Prints within the context of their broader artistic output and other collaborations such as the exhibitions, Parallel of Life and Art (Institute of Contemporary Arts, London, 1953) and This is Tomorrow (Whitechapel Art Gallery, London, 1956). The publication documents original exhibition research, features contributions from leading experts including Eduardo Paolozzi’s biographer Robin Spencer and design historian Lesley Jackson, and includes full colour reproductions of their designs and artwork alongside hitherto unseen working material. ¿UVWVLWHWEF ISBN 9780948252365 hardback pages tbc illustrations tbc 280 x 215 mm 'HFHPEHU Hammer Prints, Sgraffito wallpaper 6 Bombyx Mori edited by Asana Greenstreet Bombyx Mori is a monographic publication about British artist Simon 3HULWRQ¶VZRUNSXEOLVKHGE\¿UVWVLWH on the occasion of a new public artwork in 2012, installed in the 'VKDSHGJDUGHQVDW¿UVWVLWH3HULWRQ researched the garden’s eighteenth century design in collaboration with the landscape architects, to create relevant planting for the renewed scheme. His work is inspired partly by the site;; there is a long- established mulberry tree in the gardens of East Hill House, and the worms of the silkmoths that appear in his artworks were essential to domestic silk production in nineteenth century Colchester. Primarily a visual essay, this large-format book also includes an interview between Periton and Jes Fernie, ¿UVWVLWH¶V$VVRFLDWH&XUDWRUZKLFK contextualises the development of the commission. ¿UVWVLWH ISBN 9780948252341 VRIWEDFNLQVOLSFDVHSDJHV 35 colour, 9 b&w illustrations 348 x 334 mm Forma distributed by Cornerhouse world-wide FutureEverything distributed by Cornerhouse world-wide GlobalArtAffairs Publishing distributed by Cornerhouse world-wide Haunch of Venison distributed by Cornerhouse world-wide Dicky Star and the Garden Rule The FutureEverything Manual (2011) Károly Keserü Nancy Holt Papertiger 2009–2012 Photoworks texts by Drew Hemment, Kate Taylor, Kevin Smith, Chris Speed, Julian Tait, Adam Nieman, Jon Whittle, Will Simm, Nigel Davies, Stefan Agamanolis, Manuel Lima, Nashid Nabian, Carlo Ratti, Amalie Roberts edited by Patrick Heide Contemporary Art artists: Nancy Holt, Robert Smithson Tony White text by Tony White Dicky Star and the Garden Rule follows young couple Laura Morris and her boyfriend Jeremy through the turbulent days at the end of April 1986 when the world’s worst nuclear accident occurred at the Chernobyl nuclear power plant in the Ukrainian Soviet Socialist Republic of the former Soviet Union. Jeremy and Laura’s story is told in vivid daily chapters that follow the unfolding disaster’s impact in the UK, but are also determined by their own quixotic puzzle: each chapter must be told using all of the answers to the Guardian Quick Crossword from that day in 1986. Drawing on newspaper archives of the former independent left-wing weekly Leeds Other Paper and the then still broadsheet Guardian, Tony White creates an evocative story of mid- 1980s life. This book accompanies a touring exhibition of works by Jane and Louise Wilson entitled Atomgrad (Nature Abhors a Vacuum), commissioned in April 2010 as a response to the 25th anniversary of the Chernobyl disaster. Forma £5.00 ISBN 9780954828868 softback 50 pages WH[WRQO\ 210 x 148 mm edited by Drew Hemment The FutureEverything Manual introduces the FutureEverything digital innovation labs and methods, the themes of the 2011 edition of the FutureEverything Festival, and includes a number of interesting essays. Founded in 1995 and based in Manchester, FutureEverything presents a global festival of art, music, and ideas, and an award celebrating the creative imagination that will shape our future. It also runs year-round innovation labs on themes such as open data, urban interface, remote collaboration and environmental mass observation. Published after the FutureEverything 2011 Festival (11 – 14 May 2011). )XWXUH(YHU\WKLQJ ISBN 9780955736094 softback 44 pages illustrated in colour and b&w 210 x 148 mm This catalogue focuses on works on paper by the Hungarian artist Károly Keserü: drawings of graphite and ink, watercolours and collages, also the folded, crumpled, embossed, punched and punctured papers in which the medium and the process become the subject. Showing a wide range of formal means, Keserü’s works on paper tend to be more expressive, experimental and playful than his paintings. ‘It was always most important for me to present something enjoyable, visually engaging through the complexity of colours and resonating forms. This might be an old fashioned formalist view, but I still believe in this kind of painting. The meticulous execution is also crucial to me. Well crafted, handmade art – we could call it ‘Retro-Avant-Garde’ or ‘Retro-garde’ – still has the power to remind us of the physicality of being human’. (Károly Keserü). Included is an interview with Károly Keserü conducted by Martina Fortuni and a letter from Richard Rijnvos to the artist. *OREDO$UW$IIDLUV3XEOLVKLQJ ISBN 9783941763128 hardback 128 pages 104 colour illustrations 266 x 213 mm texts by Ben Tufnell, Douglas Fogle Nancy Holt’s photoworks constitute a major body of work by one of the key artists of the late twentieth century. It is extraordinary that many of these works have never been printed – let alone exhibited – before now;; a function perhaps of Holt’s VXFFHVVDVDVLWHVSHFL¿FSXEOLF artist and sculptor but also her role as custodian of Robert Smithson’s OHJDF\,WLVKRSHGWKDWZLWKWKLV¿UVW in-depth showing and publication of her photographic oeuvre, the full extent of Holt’s important and innovative contribution can now begin to be fully recognised. Nancy Holt is one of the leading artists of her generation and a pioneer in site- VSHFL¿FDUWDQG¿OPDQGYLGHRZRUN She is one of a group of important international artists who initiated the Land Art movement in the late 1960s. This catalogue features images of Holt’s key works such as Pine Barrens (1975) and the iconic Sun Tunnels (1976). Published alongside an exhibition at Haunch of Venison, London, 8 June – 25 August 2012. +DXQFKRI9HQLVRQ ISBN 9781905620661 hardback 84 pages 112 colour, 36 b&w illustrations 280 x 225 mm 7 AUTUMN 2012 Jamie Shovlin Various Arrangements text by Martin Holman The exhibition Various Arrangements (Haunch of Venison, London, 18 April – 26 May 2012) extended Jamie Shovlin’s interest in exploring the IDOOLELOLW\RIFODVVL¿FDWLRQV\VWHPV exploring an absurdist premise: that intellectual achievement can be ranked or scored according to a points system. The exhibition was based around the cover designs of the Fontana Modern Masters series, a set of pocket guides published between 1970–95 on eminent writers, scientists and philosophers such as Proust, Freud and Sartre. This catalogue includes full colour images of the works and photographs of the works in Jamie’s studio, and is accompanied by a text of the artist in conversation with Martin Holman. +DXQFKRI9HQLVRQ ISBN 9781905620654 hardback 108 pages illustrated in colour 290 x 230 mm Hayward Publishing distributed by Cornerhouse in the UK and Europe William Kentridge Prints texts by Roger Malbert, Rosalind Krauss, Kate McCrickard William Kentridge is internationally DFFODLPHGIRUKLVGUDZLQJV¿OPV and theatre, and opera productions. +HLVDOVRDQLQQRYDWLYHDQGSUROL¿F printmaker, often experimenting with challenging formats and combinations of printing techniques to create highly-worked, intensely atmospheric imagery. His prints, including some new works, range in scale from intimate etchings and drypoints to linocuts on rice paper and canvas measuring 2.5 metres high, and are reproduced on a variety of materials, a tactile approach which is echoed in the design and production of this unique book which includes an interview with the artist by Kate McCrickard. His distinctive use of light and shadow and silhouettes, his concern with memory and perspective, and his absorption in literary texts, are all strongly in evidence throughout this book. +D\ZDUG3XEOLVKLQJWEF ISBN 9781853323010 softback 144 pages tbc 100 illustrations in colour and b&w tbc 210 x 245 mm 'HFHPEHU QRWDYDLODEOHWRFXVWRPHUVLQ1RUWK6RXWKDQG &HQWUDO$PHULFD Universal Archive (12 Coffee Pots), 2012 © the artist and David Krut Fine Art, New York and Johannesburg. Image courtesy David Krut Fine Art, New York and London 8 Light artists: David Batchelor, Olafur Eliasson, Dan Flavin, Conrad Shawcross, James Turrell, and others The Universal Addressability of Dumb Things texts by Cliff Lauson, Philip Ball, Anne Wagner Mark Leckey Curates Light, published on the occasion of a major exhibition at the Hayward Gallery (21 January – 28 April 2013), includes some of the most visually stimulating and compelling artworks created using light since the 1960s, as well as newly commissioned artworks by contemporary artists. Featuring over 25 artists, Light takes as its starting point the sculptural use of light as a way of altering our perception of space in contemporary art. Individual artworks featured here explore aesthetic possibilities – colour, duration, black light, shadows, QDWXUDODQGDUWL¿FLDOOLJKWSURMHFWLRQ – through immersive, experiential environments. The use of light as a means of expressing more socially or politically-driven concerns is also addressed, as are the inroads made by cutting-edge technology in contemporary light installation;; LEDs, lasers and computer-controlled lighting all make an appearance in these works. +D\ZDUG3XEOLVKLQJWEF ISBN 9781853323041 hardback 192 pages tbc illustrated in colour 280 x 235 mm -DQXDU\ DYDLODEOHWRFXVWRPHUVLQWKH8.RQO\ David Batchelor, Magic Hour artist: Mark Leckey texts by Dr Alixe Bovey, Erik Davis, Frances Stark Turner Prize-winner artist Mark Leckey, presents the latest in Hayward Touring’s celebrated series of artist-curated exhibitions. The Universal Addressability of Dumb Things will explore the theme of transformative technology, a kind of techno- animism, whereby the inanimate comes to life, and no distinction is drawn between things mental and things material, the sacred and the profane. Contemporary works of art, mechanical objects, historical material from science and archaeological museums, and imagery from the internet will coexist in an ambient environment, creating ‘a colossal body across time and space’. The most imaginative, innovative and authoritative thinkers DQGZULWHUVLQWKLV¿HOGDUHEURXJKW together in this book – practitioners of art-writing, cultural criticism and the history of technology. Three unique, new texts deal with themes including monstrosity, the power of writing and the boundless power of the internet. +D\ZDUG3XEOLVKLQJWEF ISBN 9781853323058 hardback 144 pages tbc 140 colour illustrations tbc 210 x 180 mm )HEUXDU\ QRWDYDLODEOHWRFXVWRPHUVLQ1RUWK6RXWKDQG &HQWUDO$PHULFD Object-Fantom, 1937 by Toyen. Courtesy Galerie Zlatá Husa Henry Moore Institute distributed by Cornerhouse world-wide Ikon Gallery distributed by Cornerhouse world-wide Sarah Lucas Bedwyr Williams Ordinary Things My Bad texts by Lisa Le Feuvre, Gilda Williams, Anne Wagner, Deborah Orr texts by Karen MacKinnon, Mark Beasley, Bedwyr Williams edited by Lisa Le Feuvre Ordinary Things brings a sculptural and scholarly approach to the work of Sarah Lucas, underlining her VWDWXVDVRQHRIWKHPRVWVLJQL¿FDQW British artists. Lucas’ sculptures are made of and from the human body, and from the ordinary things that surround us. In NUDS (2009–), limbs can be seen wrapping around each other in knotted couplings and solo DFUREDWLFVWKHFHOOXOLWHPDUNHGÀHVK formed from ‘natural’ tights stuffed ZLWKÀXIIDQGVWLIIHQHGE\ZLUHWKH delicate surface bruised and wrinkled as the bodies perch on their breeze- block supports. Many books looking at Lucas’ work have focused on her as a central player within British art in the 1990s. Ordinary Things offers a counter position, turning to the sculptural rather than the sensational, to identify Lucas’ consistent TXHVWLRQLQJRIWKHGH¿QLWLRQRI sculpture. Published alongside the exhibition Sarah Lucas: Ordinary Things at Henry Moore Institute, Leeds, 19 July – 21 October 2012. +HQU\0RRUH,QVWLWXWH ISBN 9781905462391 softback 80 pages 40 colour, 11 b&w illustrations 205 x 165 mm My Bad is Bedwyr Williams’ largest solo exhibition to date and this accompanying catalogue presents the most comprehensive survey of his work. Williams observes the world with a sharp eye and wry humour. His work includes a wide range of media, including performance, sculpture, painting and photography. Drawing on his own personal narratives and family histories – from school days in a North Wales farming community to his experiences as an artist-in- residence – Williams has become known for sculpture and performance ZRUNUHÀHFWLQJRQUXUDOOLIHORVV memory and the folly of ambition. My Bad draws its title from an American vernacular phrase for admitting fault. The exhibition is comprised largely of newly commissioned installation and sculptural pieces, marking a departure from the artist’s previous concerns with Wales and ‘Welshness’. Published to accompany the exhibition Bedwyr Williams: My Bad at Ikon Gallery (16 May – 8 July 2012) and touring to Glynn Vivian Art Gallery, Swansea in partnership with Mission Gallery, Swansea (17 November 2012 – 6 January 2013). ,NRQ*DOOHU\ ISBN 9781904864776 softback 112 pages illustrated in colour and b&w 240 x 170 mm 9 AUTUMN 2012 Boyd & Evans How To Use Fool’s Gold John Myers Stuart Whipps Middle England texts by Tyler Cann, Christopher Finch Sarah Browne Artist-couple Boyd & Evans have been working together since 1968. Their paintings, while highly representational, have a perspective, scale and composition that often edge closer to the surreal. The air feels thin, time frozen and gravity suspended in their dreamlike pictures. Photography has also become more central to their work in recent years, with shocks of colour penetrating landscapes of the American Southwest. With selections from over 40 years of their work together, Ikon presents Boyd & (YDQV¶¿UVWPDMRUVXUYH\H[KLELWLRQ Published on the occasion of the exhibition Boyd & Evans: Views at Ikon Gallery, 18 July – 2 September 2012. texts by Jeremy Millar, Tessa Giblin, Sarah Browne, Chris Lee, Marshall Sahlins texts by Paul Lewis, Eugenie Shinkle, Ian Jeffrey Why Contribute to the Spread of Ugliness? Views ,NRQ*DOOHU\ ISBN 9781904864783 softback 112 pages illustrated in colour and b&w 245 x 245 mm ,NRQSUHVHQWVWKH¿UVW8.VROR exhibition by Dublin-based artist 6DUDK%URZQHDVXUYH\RI¿OPDQG sculptural works, including the artist’s entry for the 2009 Venice Biennale. Using ‘the economy’ as the basis for her artistic practice, Browne works with small communities of people, documenting resourceful forms of exchange such as gifting, subsistence, poaching and subsidies, to reveal the hidden social relations that exist in small-scale economic structures. Published on the occasion of the exhibition How To Use Fool’s Gold at Ikon Gallery, 15 February – 29 April 2012, and Contemporary Art Gallery, Vancouver, 13 July – 2 September 2012. Co-published with Project Arts Centre, Dublin, and Contemporary Art Gallery, Vancouver. ,NRQ*DOOHU\ ISBN 9781904864752 softback 184 pages illustrated in colour and b&w 185 x 135 mm 7KLVLVWKH¿UVWPDMRUH[KLELWLRQ by Midlands-based artist John Myers. Comprising black and white photographs made in the 1970s, Ikon’s selection includes Middle England (1970–1974), a number of portraits of individuals and families living in and around the Black Country. Myers’ approach LVGRFXPHQWDU\LQVW\OHUHÀHFWLQJ the taste, self-perceptions and aspirations of the people he photographed. Thus we observe them in their sitting rooms and bedrooms, or in their leisure or work spaces, surrounded by the telling paraphernalia of their daily lives. They pose with deliberate stances and gestures, responding to the sense of occasion engendered E\0\HUV¶XVHRID*DQGRO¿SODWH camera set on a tripod with a dark viewing cloth. Published on the occasion of the exhibition John Myers: Middle England at Ikon Gallery, 30 November 2011 – 5 February 2012. ,NRQ*DOOHU\ ISBN 9781904864721 softback 128 pages 79 b&w illustrations 245 x 200 mm text by Catherine O’Flynn This is an illustrated catalogue to accompany Stuart Whipps’ show at Ikon, including an essay by Birmingham novelist Catherine O’ Flynn. The major work of this exhibition, Why Contribute to the Spread of Ugliness? (2011), centres on 487 boxes of archived paperwork from the architectural practices of John Madin. John Madin, active in Birmingham for over 30 years, GHVLJQHGPDQ\EXLOGLQJVWKDWGH¿QHG Birmingham as a modernist city. Several have since been pulled down or are under threat of demolition. Birmingham Central Library, the largest civic library in Europe and considered by some to be a landmark of post-war functionalist architecture in Britain, is due to be demolished in 2013. Whipps focuses on archival material relating to Madin’s work on the library, the former Birmingham Post and Mail printworks and the Queen’s Square shopping centre in West Bromwich, amongst others. Published on the occasion of the exhibition at Ikon Gallery, 30 November 2011 – 5 February 2012. ,NRQ*DOOHU\ ISBN 9781904864738 softback 84 pages 51 colour illustrations 310 x 240 mm Information as Material distributed by Cornerhouse world-wide John Hansard Gallery distributed by Cornerhouse world-wide Do or DIY Jennifer Anyan artists: Craig Dworkin, Nick Thurston, Simon Morris ‘Remember the lessons of literary history. Don’t wait for others to validate your ideas. Do it yourself.’ Mixing anecdote and advocacy, the ¿UVWVHFWLRQRIWKLVWZRSDUWSROHPLFDO essay offers an introduction to the concealed history of do-it-yourself publishing – as undertaken by some of the most revered writers in the modern Western literary canon, from Laurence Sterne (1713–1768) to Irma Rombauer (1882–1941) via Virginia Woolf (1871–1922) and Derek Walcott (1930–). Having looked back at some of the monuments of literary history, the second section takes its charge from the epigraph, ‘Institutions cannot prevent what they cannot imagine’, and looks forward to the political SUD[LVRIWKHWZHQW\¿UVWFHQWXU\¶V GLJLWDOIXWXUH7KHHVVD\ZDV¿UVW commissioned as the Foreword for the London Art Book Fair 2011 catalogue. Published in a limited edition to accompany an eponymous solo exhibition at the Whitechapel Gallery, London, April – May 2012;; and at the Laurence Sterne Museum, Coxwold, August 2012. ,QIRUPDWLRQDV0DWHULDO ISBN 9781907468124 softback 24 pages WH[WRQO\ 135 x 105 mm 10 Embodied Memories texts by Jennifer Anyan, Claire Masset, Samantha Erin Safer Embodied Memories, a project by artist and fashion stylist Jennifer Anyan, is set in a temporary shop location in central Southampton. The exhibition showcases startling new artworks that are made to be worn. Poised between sculpture and couture, the works are based on recollections of items purchased from the city’s old Tyrrell & Green department store. Developed from research undertaken with local people, Jennifer’s subtle reinventions are touching, at times humorous but always respectful, and explore the distance between memory, communication and interpretation. Embodied Memories was commissioned by the John Hansard Gallery and developed through Art at the Heart, a partnership of key arts organisations in Southampton working to bring the city’s emerging cultural quarter to life. Supported by Solent Research & Enterprise and CREADM. Published to accompany the exhibition, Embodied Memories by Jennifer Anyan at John Hansard Gallery, 9 May – 30 June 2012. -RKQ+DQVDUG*DOOHU\ ISBN 9780854329311 softback 48 pages 25 colour, 1 b&w illustrations 250 x 210 mm 11 AUTUMN 2012 Caroline Bergvall Nick Stewart Ghost Pieces: Four language- based installations WHICH IS THE: 49 Views edited by Caroline Bergvall, Erica Scourti Ghost Pieces is a DVD compilation that documents four language-based installations by French-Norwegian writer and artist Caroline Bergvall. It spans more than a decade and LQFOXGHVKHUPXFKQRWHG¿UVW installation in two different sitings, Say: “Parsley”DV well as her more recent exhibition Middling English (2010) and the event Ghost Cargo (2011). Each ZRUNH[SORUHVVSHFL¿FDVSHFWVRI questions of cultural belonging and language violence through methods that challenge dimensions and perceptions of language use in space, in sound. The videos have been edited and treated to be viewed as pieces in their own right. The DVD also includes an in-depth interview between the artist and Stephen Foster, Director of the John Hansard Gallery. Caroline Bergvall is based in the UK and works across media, languages and artforms. Questions of cultural belonging, new literacies, language violence, bilingual realities and historical sourcing are at the heart of her work. -RKQ+DQVDUG*DOOHU\ ISBN 9780854329465 '9'ZLWKIROGRXWFRYHU3$/IRUPDW running time: 52:51 6 colour illustrations 210 x 147 mm 12 In September of 2011, Nick Stewart spent a week driving along and across the Irish border. At each crossing, he recorded factual details of the landscape. Screen-grabs of the places he visited taken from Google Maps are presented in this project, as much for their aesthetic qualities as for any relation to the artist’s actual experience of those sites. The book’s title refers to the peculiar relation of geography to politics in Ireland. ‘North’ both indicates a direction and a national identity: the North. The same is true of ‘South’. Nick Stewart was born and brought up on the north coast of Northern Ireland. The contrast between the beauty of the landscape of his birth place and the traumatising reality of its religious and political divisions remain a formative perception of the place that still informs his art today. -RKQ+DQVDUG*DOOHU\ ISBN 9780854329427 hardback 100 pages 40 colour illustrations dimensions tbc JRP|Ringier distributed by Cornerhouse in the UK and Europe Hans Arp Ovi Bimba text by Juri Steiner edited by Juri Steiner, Melanie Dankbar Hans Arp was one of the most LQQRYDWLYHDQGLQÀXHQWLDODUWLVWVRI the twentieth century. With a playful hand and a multifaceted practice that included sculpture, relief, painting, collage and poetry, Arp juggled the dominant art currents of Cubism, Surrealism and Constructivism, combining seemingly contradictory geometric and organic formal idioms with the artistic ‘-isms’ of his epoch. In 1916, Arp was invited by Hugo Ball to take part in the Cabaret Voltaire at Spiegelgasse 1 in Zurich. The now iconic event marked the birth of Dadaism and the beginnings of a long overdue breakthrough for Arp. Ovi Bimba is a revelatory publication exploring these early years of Arp’s practice, focusing on his time in Zurich during the birth of Dada to his sculptures in the 1940s and 1950s. This publication positions these diverse pieces alongside those of Arp’s fellow artists, including his wife, Sophie Taeuber-Arp. Published with +DXVHU:LUWK=XULFK/RQGRQ New York. Art and the City Iñaki Bonillas Yvette Brackman A Public Art Project J. R. Plaza Archive Systems and Scenarios artists: Ai Weiwei, Bettina Pousttchi, Charlotte Posenenske, Christian Jankowski, Doug Aitken, Frank Stella, Fred Sandback, Hamish Fulton, Lara Almarcegui, Los Carpinteros, Manfred Pernice, Martin Creed, Matias Faldbakken, Matt Mullican, Oscar Tuazon, Paul McCarthy, Roe Ethridge, San Keller, Taiyo Onorato/Nico Krebs, Valentin Carron, Yona Friedman texts by Luigi Amara, Michel Blancsubé, Sarah Demeuse, Rubén Gallo, Veronica Gerber, Claudio Isaac, Lorena Marron, Tom McDonough, Dieter Roelstraete, Ivan Ruiz texts by Helene Lundbye Petersen, Heike Munder texts by Christoph Doswald, Markus Miessen, Hans Ulrich Obrist, Anna Schindler, Philip Ursprung edited by Christoph Doswald Art and the City is published on the occasion of the international festival of the same name held in Zurich in summer 2012. Inviting more than 40 artists to present works in the public space, the manifestation takes as a point of departure the transformation of the west area of Zurich from an industrial zone to a trendy residential neighbourhood. Gathering together contributions by artists such as Ai Weiwei, Martin Creed, Hamish Fulton, Matt Mullican, Bettina Pousttchi, Oscar Tuazon among many others, this book explores the FRQGLWLRQRIFLWLHVLQWKHWZHQW\¿UVW century through the history of art interventions and discussions in the public realm. -53_5LQJLHU ISBN 9783037642962 softback 392 pages 84 colour, 288 b&w illustrations 270 x 190 mm (QJOLVKDQG*HUPDQWH[W edited by Heike Munder, Helene Lundbye Petersen, Sabine Russ edited by Ekaterina Alvarez, Maria Minera In 2003, Mexican artist Iñaki Bonillas introduced the photographic archive belonging to his grandfather, José Rodríguez Plaza, into his work. Its content which, since that time, has undergone a wide range of operations, has permitted him to combine elements that seemed, a priori, incompatible: on the one hand, a personal, biographical narrative, consisting of anecdotes and rather personal character notes;; and, on the other, a quasi- VFLHQWL¿FVHQVHRIFRPSLODWLRQDQG FODVVL¿FDWLRQ&RQFHSWXDOLVHGDV a kind of catalogue raisonné, J.R. Plaza Archive sets out to assemble a series of theoretical and literary digressions by a number of writers, philosophers, and poets, on 20 of the works that Bonillas has created from the material of this archive – a vast collection of images. The publication is part of the series of artists’ projects edited by Christoph Keller. -53_5LQJLHU ISBN 9783037642474 hardback 126 pages 20 b&w illustrations 190 x 113 mm This monograph covers 20 years of Yvette Brackman’s works and SURMHFWV,WLVWKH¿UVWSXEOLFDWLRQWR bring together a large selection of diverse work revealing underlying themes such as the body, memory, identity, commerce, and origin, and the legacies of war. The book is RUJDQLVHGDURXQG¿YHLQWHUYLHZVE\ Helene Lundbye Petersen, which were conducted in New York in 2011. Each interview focuses on a set of themes. The book also includes an essay by Heike Munder, director of the Migros Museum für Gegenwartskunst, Zurich, which explores the artist’s work in relation to memory and the body. The book has been conceptualised and developed by the artist, Helene Lundbye Petersen, and Heike Munder, and is edited by Sabine Russ, managing editor of Bomb Magazine, New York. -53_5LQJLHU ISBN 9783037642801 softback 200 pages 155 colour, 20 b&w illustrations 240 x 170 mm -53_5LQJLHU ISBN 9783037642979 hardback 104 pages 106 colour, 8 b&w illustrations 306 x 238 mm (QJOLVKDQG*HUPDQWH[W 13 AUTUMN 2012 Come On In My Kitchen The Robert Johnson Book Jimmie Durham A Matter of Life and Death and Singing Nina Fischer / Maroan el Sani Spelling Dystopia Joana Hadjithomas & Khalil Joreige Thomas Hirschhorn Karl Holmqvist Video Anthology 1993–2010 ‘K texts by Suzanne Cotter, Jean-Michel Frodon, Michèle Thériault text by Thomas Hirschhorn text by Karl Holmqvist edited by Stéphanie Moisdon edited by Beatrix Ruf, Steinar Sekkingstad For Thomas Hirschhorn, one of today’s most talked-about artists, video has always been a favoured medium of expression. Since the early 1990s, he has created stand- alone video works, or used the medium to record performances and complete three-dimensional installations with his so-called ‘integrated videos’. His video work demonstrates the economy of means, the formal energy, and direct strength as well as the political and aesthetical conscience he has shown for 25 years in his oeuvre. This unique anthology brings together 12 video works made between 1993 and 1996 – such as Les Monstres, Lust For Live, Robert Walser Video, and Otto Freundlich Fan – as well as a selection of ‘integrated videos’ realised between 1997 and 2010. This DVD is edited and introduced by the French art critic and curator Stéphanie Moisdon, founder of bdv (bureau des vidéos) and one of his ¿UVWVXSSRUWHUV This new artist’s book, ‘K from Karl Holmqvist explores different levels of textual interaction with art. Both as concrete poems or language ‘drawings’, in which words and letters come to form patterns, and through repetitions somewhere between sense and non-sense, ¿JXUDWLRQDQGDEVWUDFWLRQ+LVZRUN may also take the form of longer spoken word poems intended for performance readings, again investigating the formats of repetition and variation, but with more of a rhythmic and musical structure tied to memory training techniques and oral tradition. Substantial parts of the book’s material are in fact gathered as ‘loans’ from other artists, forming something of a mini- collection of language-art practices and references from Zurich and Berlin Dada, Futurism, Vorticism, Lettrisme, and onward to more contemporary formulations from artists such as Ferdinand Kriwet and Shannon Ebner. Published as a joint collaboration with Kunsthalle Zürich and Bergen Kunsthall. texts by Heiner Blum, Bill Brewster, Roman Flügel, DJ Harvey, Theo Parrish, Ewan Pearson, Tobias Rehberger, Ivan Smagghe, Tobias Thomas, Ricardo Villalobos texts by Guy Brett, Bart de Baere, Jimmie Durham, Anders Kreuger, Richard William Hill edited by Ata Macias, Christoph Keller Jimmie Durham is one of the most LQÀXHQWLDODUWLVWVWRGD\2IKLVDUW he says that it ‘works against the two foundations of the European tradition: Belief and Architecture.’ Sculpture, seen as the coming together of object, image, and word, is fundamental to his practice, but he is also a poet, essayist, and educator. Durham’s life as an artist began in the mid-1960s in Texas. In the early 1970s he worked in Geneva. In the late 1970s he was a political organiser with the American Indian Movement, Director of the International Indian Treaty Council and its representative to the United Nations. Between 1987 and 1994 he was based in Mexico, and thereafter in Europe. Published to accompany Durham’s exhibition at M HKA, Antwerp, this book is a comprehensive retrospective featuring more than 100 works from all his creative periods. This publication shows the process RIGHYHORSLQJDQGUHDOLVLQJWKH¿OP installation Spelling Dystopia, about the Japanese island Hashima, once the most densely populated place on earth, a coal mine until 1974, and a symbol today of a ruthless exploitation of resources. Today the abandoned island is better known as a ghost island through mangas, video games, and movies. Spelling Dystopia asks how memory operates, how a site wears its history, both physically and metaphorically, and visualises the shift in collective memory. The book contains sketches, research material, production stills, series of photographic images, and a manga realised in collaboration with Kasuga Tsubaki, a Japanese manga artist. The publication is part of the series of artists’ projects edited by Christoph Keller. Since the mid-1990s, Lebanese artists Joana Hadjithomas and Khalil Joreige have worked together in the visual arts and cinema, shooting GRFXPHQWDULHVDQG¿FWLRQVXFKDV I Want To See, starring Catherine Deneuve and Rabih Mroué and screened at the Cannes Festival in 7KHLUSUDFWLFHLQERWK¿HOGVLV imbued with a distinctive aesthetic that occupies spheres of the visible DQGWKH¿FWLRQDOQRXULVKLQJD fascinating back and forth between OLIHDQG¿FWLRQ,QYHVWLJDWLYH processes, excavation, and the representations of historic, social, cultural, and political factors are at the heart of their practice. Following the duo’s different bodies of work since the early psycho-geographic mapping of Beirut to the recent projects gathered together under the title Lebanese Rocket Society, this ERRNLVWKH¿UVWPRQRJUDSKGHGLFDWHG to the artists. -53_5LQJLHU ISBN 9783037642894 softback 160 pages 160 colour, 54 b&w illustrations 310 x 240 mm -53_5LQJLHU ISBN 9783037642757 softback 136 pages 84 colour, 46 b&w illustrations 285 x 210 mm English and Japanese text -53_5LQJLHU ISBN 9783037642405 English edition ISBN 9783037642948 French edition softback 160 pages 100 colour illustrations 286 x 237 mm Nightclubs are not only hotbeds of sin or places where dance and SRSPXVLFDUHVKDSHGUH¿QHG and processed, but also where art, design, fashion, and culture meet in a whirlwind of hedonism. Come On In My Kitchen is the story of such a place. Located in Offenbach am Main, Robert Johnson is an internationally renowned club whose existence now spans more than a decade. With an assemblage of images and texts, which sometimes explain and sometimes glorify, this book traces the history and future of a crackpot idea that in its best moments has touched people (musicians, artists, photographers, designers, fashion groupies, and nightclub geeks), inspiring something between heavenly splendour and earthly joy. This publication is part of the series of artists’ projects edited by Christoph Keller. -53_5LQJLHU ISBN 9783037642740 softback 376 pages 243 colour, 190 b&w illustrations 270 x 200 mm (QJOLVKDQG*HUPDQWH[W 14 edited by Anders Kreuger text by Mami Kataoka edited by Christoph Keller, Maroan el Sani, Nina Fischer edited by Clément Dirié, Michèle Thériault -53_5LQJLHU ISBN 9783037643020 '9'PXOWLUHJLRQ3$/6(&$0 running time: 90:00 190 x 135 mm -53_5LQJLHU ISBN 9783037642931 softback 324 pages 10 colour, 1 b&w illustrations 190 x 128 mm 15 AUTUMN 2012 Roni Horn Selected Drawings 1984–2012 texts by Tacita Dean, Briony Fer, Dave Hickey edited by Michaela Unterdörfer ‘If you were to ask me what I do, I would say I draw – this is the primary activity and that all my work has this in common regardless of idiom or material.’ (Roni Horn in a letter to Paulo Herkenhoff, 2003). In the mid-1980s, Horn began developing a drawing technique using pigment and cut and arranged paper. The drawings carry a strong physicality which may best be compared to architecture. For the past two decades, drawing has remained an essential part of Horn’s practice. Selected Drawings 1984–2012SUHVHQWVIRUWKH¿UVW time a comprehensive selection of Horn’s drawings, ranging from the artist’s initial work with pigment and varnish on index cards in the mid- 1980s to the large-scale and extreme complexity of the recent drawings. Published with Hauser & Wirth =XULFK/RQGRQ1HZ<RUN -53_5LQJLHU ISBN 9783037643051 hardback 160 pages 161 colour illustrations 300 x 200 mm Pierre Joseph Ragnar Kjartansson texts by Nicolas Bourriaud, Liam Gillick, Stéphanie Moisdon Works Related to Music 2012–2001 edited by Clément Dirié, Lionel Bovier With his fellow artists Philippe Parreno, Dominique Gonzalez- Foerster, and Bernard Joisten, Pierre Joseph contributes to the UHGH¿QLWLRQRIWKHDHVWKHWLFRIDUW since the 1990s. He is the author of groundbreaking exhibitions and works – created on his own or in collaboration – such as the Paradise Workshops, 1990, the pop culture Characters to be reactivated series, 1991–1997, or the collaborative projects of the 2000s that made KLPDVHPLQDO¿JXUHIRUWKHQHZ generation of French artists. His approach successively deals with issues such as the permanence of things and the digital manipulation of reality, questions of knowledge and transmission, of how to produce forms, and how they evolve. Introduced by a retrospective essay by French art critic and curator Stéphanie Moisdon, this book is a selective overview of the artist’s production, accompanied by a conversation with British artist Liam Gillick, and a focus on the Characters to be reactivated series by French art critic and theoretician Nicolas Bourriaud. -53_5LQJLHU ISBN 9783037642856 hardback 64 pages 45 colour illustrations 286 x 205 mm 16 texts by Philip Auslander, Edek Bartz, Heike Munder, Markús þór Andrésson edited by Heike Munder, Raphael Gygax In his performances – which often extend over several weeks or months – the Icelandic artist Ragnar Kjartansson explores not only his own physical and psychological limits and the essence of early performance art, but also the artist’s status and the different images of his role. For his installation The Schumann Machine (2008), created for Manifesta 7, he spent several hours every day for two weeks singing the cycle of songs Dichterliebe (1840) by Robert Schumann (1810–1856). The characteristic features of his performances are the melancholy, but also absurdly comical moments. This ERRNXQLWHVIRUWKH¿UVWWLPHDOORI Kjartansson’s works related to music from 2001 to 2012. With contributions by Philip Auslander, Heike Munder, Markús þór Andrésson, and a conversation between Edek Bartz and Ragnar Kjartansson. Published with the Migros Museum für Gegenwartskunst, Zurich. -53_5LQJLHU ISBN 9783037643037 hardback 160 pages 100 colour, 50 b&w illustrations 235 x 175 mm (QJOLVKDQG*HUPDQWH[W =R¿D.XOLN Przemyslaw Kwiek David Maljkovic KwieKulik texts by Charles Esche, Annie Flechter, Anselm Franke, Alessandro Rabottini, Alessandro Vicentelli texts by Jacek Dobrowolski, Maciej Gdula, .ODUD.HPS:HOFK=R¿D.XOLN3U]HP\VODZ Kwie, Ewa Majewska, Sitkowska Maryla, Pawel Moscicki, Luiza Nader, Tomasz Zaluski edited by Georg Schöllhammer, Lukasz Ronduda 6LQFHWKHV=R¿D.XOLNDQG Przemyslaw Kwiek (KwieKulik) have pioneered the transformation of artistic practice into social experimentation. KwieKulik sought to reconcile artistic praxis with everyday life, essentially based on the premise that form is a fact of society. The couple’s pioneering approach to ¿OPSKRWRJUDSK\DQGPXOWLVFUHHQ slide projection epitomises their unique variation of expanded cinema. This comprehensive monograph documents their collective works from 1971 to 1987, illuminating the radically unique position of the artists in the history of neo-avant-garde in Central Europe. The book covers and documents more than 200 events, and includes a ‘KwieKulik Glossary’, the collection of concepts introduced and applied by the artists. Published with the Museum of Modern Art, Warsaw, BWA Wroclaw-Galleries of Contemporary Art, ERSTE Foundation and The KwieKulik Archive, Warsaw-Lomianki. -53_5LQJLHU ISBN 9783037642993 hardback 576 pages 791 colour, 1017 b&w illustrations 300 x 240 mm Sources in the Air edited by Nick Aikens Sources in the Air accompanies David Maljkovic’s three-part exhibition of the same name at the Van Abbemusem, Eindhoven;; BALTIC Centre for Contemporary Art, Gateshead;; and GAMeC, Bergamo. ,QFOXGLQJ¿OPVVFXOSWXUHFROODJH and installations from the past 10 years, Sources in the Air is the Croatian artist’s most comprehensive survey to date. Architecturally re- FRQ¿JXUHGDQGUHVWDJHGGLIIHUHQWO\ at each of the three venues, Sources in the Air expands on Maljkovic’s recent interest in exhibition strategies and the semiotics of display. The publication serves as the bind between each of the exhibition’s iterations. Richly illustrated, it examines the political, aesthetic and scenographic threads deployed within Maljkovic’s practice, assessing WKHPRYHIURPD¿QHO\EDODQFHG projection of the varying legacies of international modernism, to a series of encounters staged between viewer, artwork, artist and institution. -53_5LQJLHU ISBN 9783037643075 softback 256 pages 100 colour illustrations 260 x 205 mm New Relations in Art and Society texts by Claire Bishop, Beatrice Gibson, Thomas Hirschhorn, Sandra Höptner, Mischa Kuball, Kristin Marek, Nina Möntmann, Jacques Rancière, Eva Schmidt, Gerald Schröder, Beate Söntgen, Apolonia Sustersic, Franz Erhard Walther, Friederike Wappler, Astrid Wege, Lawrence Weiner, Harald Welzer edited by Friederike Wappler Theodor W. Adorno described artworks as windowless nomads, for it is through their double character as both autonomous and ‘fait social’ that unsolved antagonisms of reality return in them as immanent problems of form. Socially committed contemporary artists, however, experiment with other spheres of reference. They involve human beings as actors in communicative processes of reality construction, thus creating new spaces of possibility. The New Relations in Art and Society conference hosted by the Campus Museum of the Art Collections of the Ruhr-University of Bochum (RUB) considered this challenge and took the exhibition Mischa Kuball: NEW POTT and the conference as their starting point. This publication is part of the series of artists’ projects edited by Christoph Keller. -53_5LQJLHU ISBN 9783037641897 softback 338 pages 80 colour, 39 b&w illustrations 240 x 175 mm (QJOLVKDQG*HUPDQWH[W 17 AUTUMN 2012 David Noonan Paulina Olowska Luigi Ontani Parachute Raymond Pettibon Clive Phillpot texts by Michael Bracewell, Jennifer Higgie, Dominic Molon texts by Adam Szymczyk, Jan Verwoert CoacerVolubilEllittico The Anthology (Vol. 1) Whuytuyp edited by Lionel Bovier texts by Jean-Christophe Ammann, Andrea Bellini, Andrea Cortellessa text and edited by Lynn Kost Paulina Olowska’s work demonstrates an interest in Communist Poland’s fascination with Western consumerism and celebrates the spirit and stylish improvisations of the ‘Applied Fantastic’ – a term coined by Polish writer Leopold Tyrmand in 1954, to describe the vernacular re-creations of Western styles. In her paintings, collages, and knitted works, Olowska incorporates text and graphics from found illustrations or images that have a decidedly ‘behind the Iron Curtain’ look, while paying tribute to American Pattern and Decoration art of the 1970s and its use of non- traditional contemporary art media such as tiles and textiles. This SXEOLFDWLRQLVWKH¿UVWPRQRJUDSK to offer an overview of her work. It includes an interview with Adam Szymczyk and an essay by JanVerwoert. Olowska has had solo exhibitions at Tramway, Glasgow (2010);; Pinakothek der Moderne, Munich (2009–2010);; DAAD Galerie, Berlin (2008–2009);; and Portikus, Frankfurt (2007). edited by Marianna Vecellio texts by Thomas Crow, Thierry de Duve, Hal Foster, Dan Graham, Reesa Greenberg, Serge Guilbaut, Hans Haacke, Louis Marin, Philip Monk, Jeff Wall Booktrek: Selected Essays on Artists’ Books Since 1972 edited by Lionel Bovier London-based Australian artist David Noonan works, in Jennifer Higgie’s words, ‘with found photographic imagery taken from performance manuals, textile patterns, and archive photographs to make densely layered montages. These works at once VXJJHVWVSHFL¿FPRPHQWVLQWLPH and invoke disorientating atemporal spaces from which myriad narratives emerge.’ Noonan begins each of his screen-printed canvases by making a collage. His images encapsulate the romanticism of Golden Age cinema, and its associations with PHPRU\¿FWLRQDQGPRGHUQ mythology. Using the liturgy of art itself as a departure point for invention, Noonan conceives of his work as ‘documentation’ of plausible performances: his cast of characters are positioned as participators in highly elaborate artworks, invoking FRYHUWDQGIXWXULVWLFULWXDO7KH¿UVW comprehensive monograph on the artist, this book offers an overview of his work and is accompanied with texts by Michael Bracewell, Jennifer Higgie, and Dominic Molon. -53_5LQJLHU ISBN 9783037642054 softback 160 pages 100 colour illustrations 286 x 237 mm 18 -53_5LQJLHU ISBN 9783037642870 softback 160 pages 100 colour illustrations 286 x 237 mm Luigi Ontani holds a singular position in the contemporary art landscape. Dealing since the beginning of the 1970s with such notions and topics as identity and sexuality, the sacred and the profane, the hybrid and the kitsch, and Occidental and Oriental cultures, he creates a corpus of DUWZRUNVWKDWDUHTXDOL¿HGE\WKHLU polymorphous aspect and their denial of boundaries. Whether in his photographic portraits in which he impersonates Leonardo, Dante, Pinocchio, or San Sebastian, in his ceramic or papier-mâché sculptures, in his large paintings, or in his early video works, he affects a new reading of art history, postmodernism, and appropriation strategies. This volume features a complete chronology of the artist. Published on the occasion of Luigi Ontani’s touring exhibition at Castello di Rivoli, Turin;; Le Consortium, Dijon;; and Kunsthalle Bern. -53_5LQJLHU ISBN 9783037642863 hardback 312 pages 237 colour, 66 b&w illustrations 260 x 200 mm (QJOLVK*HUPDQDQG,WDOLDQWH[W edited by Alexander Alberro, Chantal Pontbriand In 1975, a small group of discontented members of the international art community in the Canadian province of Quebec posed the following question: ‘What do we know of contemporary art outside of Quebec, in Canada or abroad?’ By way of an answer, the cutting-edge magazine Parachute was launched, founded by Chantal Pontbriand and France Morin. Artists such as Jeff Wall, Bill Viola, Stan Douglas, and PDQ\RWKHUVKDGWKH¿UVWVLJQL¿FDQW critical reception of their work in Parachute.6LPLODUO\¿JXUHVVXFKDV Douglas Crimp, Hal Foster, Reesa Greenberg, and Laura Mulvey published highly pertinent essays in the journal early on in their careers. The essays collected in this volume KDYHEHHQVHOHFWHGIURPWKH¿UVW 25 years of Parachute’s publication history and deal with museums, art history, and theory. -53_5LQJLHU ISBN 9783037641965 softback 180 pages 8 b&w illustrations 210 x 150 mm Raymond Pettibon is mostly known for his comic-book-like drawings to which he appends disconcerting and sarcastic texts. Capturing marginal American youth, its disillusionment and antagonism toward society, Pettibon’s subject matter is often violent and brutal. As well as artist’s books, fanzines, and prints, Pettibon’s production includes animations and large wall installations. This publication focuses on Pettibon’s works made between 2006 and 2011. It is the ¿UVWFRPSUHKHQVLYHFODVVL¿FDWLRQ and investigation of his work from this particular period, which is characterised as one of meaningful change. Whuytuyp opens a new perspective on the work of this eminent artist and presents an expanded thesis of his artistic practice as a historiography. -53_5LQJLHU ISBN 9783037642900 hardback 64 pages 50 colour, 4 b&w illustrations 286 x 205 mm texts by Christophe Cherix, Clive Phillpot edited by Lionel Bovier This volume gathers together the essays written by Clive Phillpot VLQFHRQWKHGH¿QLWLRQDQG development of artists’ books. A former librarian at Chelsea School of Art in London, Phillpot became Director of the Library at the MoMA in New York in 1977, and mapped RXWWKH¿HOGRIDUWLVWV¶ERRNVIURP an institutional point of view. Collaborating with Printed Matter and Franklin Furnace among other places dedicated to the medium of the book, Phillpot helped raise awareness to these objects, while giving them the necessary credentials to enter PXVHXPV7KLVERRNLVD¿UVW collection of these historical texts, manifestos, catalogues entries, and essays dedicated to Ed Ruscha’s, Sol LeWitt’s, Dieter Roth’s, and Richard Long’s books. It will prove an invaluable reference for all those interested in the evolution of artists’ books and their perception in the artworld. Part of the Documents series, co-published with Les presses du réel and dedicated to critical writings. -53_5LQJLHU ISBN 9783037642078 softback 160 pages 50 b&w illustrations 210 x 150 mm 19 AUTUMN 2012 William Pope.L Pamela Rosenkranz Black People Are Cropped / Skin Set Drawings 1997–2011 No Core texts by Iain Kerr, Helen Molesworth, William Pope.L edited by Clément Dirié texts by Alex Kitnick, Robin Mackay, Reza Negarestani edited by Gianni Jetzer, Hilke Wagner, Katya Garcia-Anton William Pope.L is a visual and performance-theatre artist and educator who makes culture out of contraries and confronts issues of race, sex, power, consumerism, and social class. His extended corpus of drawings deals with the absurdities and perversities of intentional language, especially racist language and language associated with categorising and naming colour. Black People Are Taut, Brown People Are The Green Ray, Blue People Are What We Do To Homosexuals, French People And Roma, Purple People Are The Perfect Cone For The King Not His Body, are some examples of this on-going series made by the self- proclaimed ‘friendliest black artist in America’. This book offers a selection of drawings, made between 1997 and 2009, some sketches and two critical texts by artist and writer Iain Kerr and Chief Curator at the Institute of Contemporary Art (Boston) Helen Molesworth, as well as one of the artist’s own texts. For the past decade, Pamela Rosenkranz has sought to collapse the meaning of the artwork into the meaninglessness of pure materiality. In challenging these conditions of art, she activates a contemporary form of nihilism. From paintings produced from the foil of emergency blankets or Ralph Lauren-branded latex paint and soft drinks, to plastic ZDWHUERWWOHV¿OOHGZLWKVNLQRUXULQH hued liquids, to a monitor featuring an approximation of and challenge to Yves Klein blue, Rosenkranz’s artworks take aim at the empty centres of history, politics, and our contemporary culture as a whole. No CoreLVWKH¿UVWPRQRJUDSKRQ Rosenkranz’s increasingly celebrated oeuvre and features an overview of the work that she developed in three recent institutional solo exhibitions in Geneva, New York, and Braunschweig, Germany. Published with the Centre d’art Contemporain Geneva, Swiss Institute Contemporary Art, New York and Kunstverein Braunschweig. -53_5LQJLHU ISBN 9783037642696 softback 64 pages 35 colour illustrations 165 x 105 mm -53_5LQJLHU ISBN 9783037643013 hardback 192 pages 95 colour, 10 b&w illustrations 295 x 240 mm 20 Sgrafo vs. Fat Lava Esther Shalev-Gerz Stroll Sturtevant texts by Ronan Bouroullec, Horst Makus, Nicolas Trembley texts by Nora M. Alter, Georges Didi- Huberman, Nicole Schweizer, Annika Wik, James E. Young texts by Daniel Baumann, Balthazar Lovay Image over Image edited by Nicole Schweizer How can one think about and make a group exhibition today? This is one of the questions this publication could answer based on the experience of Balthazar Lovay, a Swiss artist and a co-founder of the independent art space Hard Hat in Geneva. Invited to organise an exhibition at Le Manoir de Martigny in the Swiss Alps, he responded by creating a kind of mental universe in which left and right cerebral cortexes could at last talk to each other. To achieve this, he brought together 60 international and local artists, photographers, and press cartoonists, and juxtaposed contemporary artworks with medieval devotional relics and so-called ‘art brut’. As a literary extension of the exhibition $GYHQWXUH5HÀHFWLRQDQG Ambush, this book offers a photo- report of the successive sections and a conversation between Balthazar Lovay and Swiss art critic and curator Daniel Baumann, co-curator of the Carnegie International 2013. edited by Nicolas Trembley Whether it is a question of Sgrafo vases, of Raymond Loewy’s Form 2000 for Rosenthal (1954), or of the improbable Fat Lava glacis of the 1970s, postwar German ceramics attest to a surprising stylistic inventiveness and diversity. Through these creations, both well-known and anonymous designers knew how to capture the impulses of a society in the middle of reconstruction and desirous of looking to the future. Mixing references to Op art, the geometry of a Verner Panton, or the vegetal style of the hippie wave, these objects follow a path of exaggerated shape unique in the history of forms. In this sense they simultaneously incarnate the inevitable bombacity that menaces design, and its aspirations to autonomy as a quasi-artistic practice. It is this crossing of intentions and this body of supposedly ordinary objects that this publication explores, with a text by the specialist Horst Markus, and an interview with the designer Ronan Bouroullec. -53_5LQJLHU ISBN 9783037642771 softback 64 pages 22 colour illustrations 165 x 105 mm This monograph gives a comprehensive overview of the variety and scope of the research carried out by Esther Shalev-Gerz RYHUWKHSDVW\HDUVLQKHU¿OPV video-installations, photographs, DQGVLWHVSHFL¿FZRUNVDPRQJWKHP numerous projects for memorials and community-based schemes). The book aims to highlight the VSHFL¿FZD\VLQZKLFKWKHDUWLVW deals with issues of knowledge, memory, history, and testimony through the space of the installation. As Shalev-Gerz states, ‘My terrain of investigation is the construction of memory. My aim is to challenge and disturb normalized expectations of memoires, and of historiography, by GLVUXSWLQJWKHYDULRXVIRUPVRIRI¿FLDO histories, including anthropology, ethnology, and museology.’ Published with the Musée cantonal des Beaux-Arts, Lausanne. -53_5LQJLHU ISBN 9783037642764 softback 160 pages 100 colour illustrations 286 x 237 mm English and French text edited by Balthazar Lovay -53_5LQJLHU ISBN 9783037642849 softback 64 pages 24 colour, 2 b&w illustrations 165 x 105 mm texts by Daniel Birnbaum, Bruce Hainley, Fredrik Liew, Paul McCarthy, Stéphanie Moisdon, Beatrix Ruf, Sturtevant edited by Fredrik Liew Since her debut exhibition in New York in 1965, Sturtevant has notoriously insisted on the power of thought, performing investigations into the underlying structure of art. Her legendary repetitions of works by other artists is a groundbreaking achievement in challenging concepts such as originality, authenticity, and the conventions surrounding DXWKRUVKLS+HU¿UVWDUWLVWLF statements are contemporary with, or indeed predate, the most famous essays and lectures on the subject by Barthes, Foucault, and Deleuze. In recent years, Sturtevant has expanded her practice to include mass-media images and her own ¿OPHGPDWHULDO7KLVKDVVKHGQHZ light on her career and emphasises how her life-long artistic practice has continuously and effectively levelled harsh, rebellious, and intelligent critique at a society that consists increasingly of simulacra and the experience industry. This publication has been produced on the occasion of Sturtevant’s exhibition at Moderna Museet in Stockholm and Kunsthalle Zurich. -53_5LQJLHU ISBN 9783037642825 softback 108 pages 53 colour, 10 b&w illustrations 210 x 130 mm English and Swedish text 21 AUTUMN 2012 Ante Timmermans texts by Julie Enckell Julliard, Konrad Bitterli edited by Julie Enckell Julliard Belgian artist Ante Timmermans, LVRQHRIWKHPRVWDFWLYH¿JXUHVRI the contemporary drawing scene. Using very simple techniques for his drawings, which are almost entirely black and white, and obsolete technology in his installations (record players, overhead projectors, etc.), he serves as an accurate eyewitness of our modern times. He notably focuses on issues surrounding WKHQDWXUHFXOWXUHGHEDWHDQG the representation of the modern city as a ghost city, a landscape of numerous skyscrapers, a no- man’s land. Both poetically ironic and disenchanted, his work is also a meditation on the pregnancy of language and words in our lives. Published on the occasion of his exhibitions at Musée Jenish, Vevey, and Kunstmuseum St-Gallen, this ERRNLVWKH¿UVWPRQRJUDSKRQ Ante Timmermans’ work. It brings together emblematic drawings and installations from each series made by the artist since the beginning of the 2000s. -53_5LQJLHU ISBN 9783037642788 English edition ,6%1*HUPDQHGLWLRQ ISBN 9783037642795 French edition hardback 64 pages 77 colour, 9 b&w illustrations 286 x 205 mm 22 7RZQ*RZQ&RQÀLFW artists: Beca Lipscombe, Caitlin Keogh, Elizabeth Radcliffe, Lucile Desamory, Lucy McKenzie, pelican avenue, Verena Dengler texts by Constance Barrère Dangleterre, Catriona Duffy, Kris Krimpe, Lucy McEachan, Lucy McKenzie, Anne Pontégnie, Isabella Anna-Maria Ritter, Beatrix Ruf, Philipp Traun, Peter York edited by Beatrix Ruf The Museum Bärengasse, where the Kunsthalle Zürich has been temporarily located, is a highly unusual building for a contemporary art gallery: there is no stylistic cohesion, and the interior is a confusing labyrinth of tiny chambers with elaborate panelling, decorative stucco, and prominent ceramic stoves. In this quasi-domestic setting, the exhibition 7RZQ*RZQ&RQÀLFW brought together Lucy McKenzie, Verena Dengler, Lucile Desamory, Caitlin Keogh, Beca Lipscombe, pelican avenue, and Elizabeth Radcliffe to explore textiles by both artists and designers whose works of art and so-called applied art raise issues relating to social formatting. For the purposes of the exhibition, WH[WLOHVDUHGH¿QHGDVHQFRPSDVVLQJ fashion – both industrial and produced by hand – and the craft practices of tapestry weaving, embroidery, and printed textiles. -53_5LQJLHU ISBN 9783037642887 hardback 112 pages 64 colour illustrations 258 x 205 mm (QJOLVKDQG*HUPDQWH[W Igor Zabel Contemporary Art Theory texts by Igor Zabel, Igor Spanjol edited by Ana Devic, Igor Spanjol, Maria Hlavajova Igor Zabel (1958–2005) was a Slovenian curator, writer, and cultural theorist. This important translation of his writings will enrich WKHLQWHUQDWLRQDOFULWLFDO¿HOGWKURXJK Zabel’s extraordinary analytical and emphatic thinking and writing. As well as texts dealing with international issues, his writings can serve as a methodology model for research into Eastern European art practices, which often share common stand points and problems. The selected texts are divided into four chapters: East-West and Between (dialogue and perception of the Other in the context of the complex relations established after the fall of the Wall in 1989), Strategies and Spaces of Art (strategies of representation and theories of display, the role of the curator, and the new understanding of the white cube), Ad Personam (individual artists and art from Socialist Realism and conceptualism to postmodernism and contextual art, particularly in Slovenia and South-Eastern Europe), and Extras (selected columns on arts and culture). Kerber Verlag distributed by Cornerhouse in the UK, Scandinavia and Eastern Europe Eduardo Arroyo texts by Eduardo Arroyo, Belinda Grace Gardner edited by Thomas Levy Eduardo Arroyo is a multi-talent;; not just a painter, but also an author and stage designer. Arroyo views himself as a European citizen, and draws from art history for his work. However, literature, the worlds of comics, boxing and his own ideas – the man in a hat, the chimney-sweep, VKRHV¿JXUHVLQVLOKRXHWWHDQG featureless faces – provide him with DQH[WHQVLYHUHSHUWRLUHIRUKLVÀDW stylish pictures, which in addition to a certain absurd humour also contain a serious profundity and an enigmatic dimension. This book is published on the occasion of an exhibition to mark Arroyo’s 75th birthday at LEVY Galerie Hamburg, containing works from the period of 1975 to 2011. .HUEHU9HUODJ ISBN 9783866786752 hardback 144 pages 115 colour illustrations 240 x 170 mm (QJOLVKDQG*HUPDQWH[W Béatrice Dreux Christian Eisenberger palestine, mothers and skies Reserve – help me kill me texts by Léonce Dreux, Robert Fleck, Rainer Fuchs, Stella Rollig texts by Christian Eisenberger, Markus Gugatschka edited by Béatrice Dreux The complexity of Béatrice Dreux’s oeuvre operates in an intensely SULYDWHVSDFHDQGLQÀXHQFHGE\WKH artist’s biography and beyond the poetry of the works, simultaneously negotiates political and social themes: Palestine, Algeria, heaven, mothers and ultimately the cosmos. Even though the paintings are ¿JXUDWLYHWKHZRUNVDUHQRWLQWHQGHG to tell a story but rather to slowly dissect major themes – from image to image, over and over again. The extensive visual work is accompanied by numerous texts written by art historians and curators and by an interview with Dreux’s father about his time as a soldier in the Algerian War. .HUEHU9HUODJ ISBN 9783866786110 hardback 176 pages 109 colour, 58 b&w illustrations 290 x 230 mm (QJOLVK*HUPDQDQG)UHQFKWH[W Christian Eisenberger does not wait for exhibitions. Instead, he presents his works immediately for public display and discussion. His countless street art works and public interventions, presented in this richly illustrated catalogue, never attempt to enhance – or distort – the street scene. From the very beginning, they convey a unique and original aesthetic and message. Far removed from anti-art, Eisenberger’s growing body of work encompasses nearly DOODUWLVWLFJHQUHVDQGUHÀHFWVDERYH all a struggle for a contemporary aesthetic. .HUEHU9HUODJ ISBN 9783866786608 hardback 576 pages 519 colour, 2 b&w illustrations 170 x 110 mm (QJOLVKDQG*HUPDQWH[W -53_5LQJLHU ISBN 9783037642382 softback 240 pages 20 b&w illustrations 210 x 150 mm 23 AUTUMN 2012 FLUXUS AT 50 artists: Alison Knowles, Ben Patterson, Ben Vautier, Dick Higgins, Emmett Williams, Geoffrey Hendricks, George Brecht, George Maciunas, Joe Jones, Joseph Beuys, Milan Knizak, Nam June Paik, Philipp Corner, Robert Fillou, Takako Saito, Wolf Vostell texts by Stefan Fricke, Alexander Klar, Sarah Maske edited by Alexander Klar 7KH¿UVWHYHU)OX[XVSHUIRUPDQFH took place 50 years ago as part of the International Fluxus Festival of the Newest Music at the Museum Wiesbaden. Now this key moment is being revived here. FLUXUS AT 50 aims to reconstruct and reappraise this performance, musical and artistic movement. This catalogue presents Fluxus stories, motifs and methods using objects, musical scores and images from that period. Reworking the original festivals led to the exposure of a lot of myths, but it still didn’t detract from the fascination of the Fluxus idea in itself, which back then spread out from Wiesbaden to change the world. Published on the occasion of the exhibition FLUXUS AT 50 at Museum Wiesbaden, 2 June – 23 September 2012. .HUEHU9HUODJ ISBN 9783866786998 hardback 192 pages 111 colour, 43 b&w illustrations 285 x 215 mm 24 Anton Henning Charline von Heyl Wilma Hurskainen IN VIEW Ilya Kabakov Chapardages, style & volupté Now or Else Heiress Collage of Spaces text and edited by Aeneas Bastian texts by Andrea Nixon, Francesco Manacorda, Ellen Seifermann, Kirsty Bell, Gavin Delahunty text by Ann-Christin Bertrand Photography from the Wemhöner Collection edited by Wolfgang Roth Charline von Heyl’s painting displays an amalgam of the most diverse effects, which generate vibrating energies and tensions: dynamic forms enfold graphic structures, dazzling colours encounter muted shades, abstract gestures collide with WKHÀHHWLQJPHPRU\RIVRPHWKLQJ real. Heyl creates pictures that, as she says in her own words, ‘have the iconic value of signs yet always remain ambivalent and mysterious in their meaning...’ Now or Else offers an in-depth insight into von Heyl’s fascinating oeuvre and shows a focused selection of paintings dating from the mid-1990s as well as some current works on paper. Published on the occasion of the exhibition Charline von Heyl: Now or Else at Tate Liverpool, 24 February – 27 May 2012;; and at Kunsthalle Nurnberg, 11 July – 30 September 2012. Like poems, Wilma Hurskainen’s photographs perceptively link poetry with humour, and open up spaces of associations to our own experiences of the spectator. In her No Name series, Hurskainen, who has strong connections with the Helsinki School, explores the themes of childhood and memory. Childhood and adulthood are present, like layers, in the same photograph. By loosely attaching texts to the images, Hurskainen recreates memories (including those that are false and invented) and continues their visual representation. +HUPDLQREMHFWLYHLVWR¿QGRXW and question how a text and a photograph mediate a story. artists include: Alfredo Jaar, Andrea Stappert, Bettina Pousttchi, Chi Peng, Darren Almond, Isaac Julien, Jean-Baptiste Huynh, Larry Fink, Michael Najjar, Nick Brandt, Nobuyoshi Araki, Paolo Mazzanti, Peter Beard, Peter Lindbergh, Richard Hamilton, Robert Mapplethorpe, Spencer Tunick, Steven Klein, Vanessa Beecroft, Will McBride, Wu Shanzhuan & Inga Svala Thorsdottir, Yang Fudong, Yu Ji, Zhang Dali, Zuoxiao Zuzhou Anton Henning links together a network of ironic borrowings and references from recent art history that extends to the era of Pablo Picasso and Francis Bacon. Interiors, VWLOOOLIHVDQGSLQXSQXGH¿JXUHV are surrounded by and steeped in abstract patterns and arabesques. In his latest series of works, the artist responds to a male nude painted by Théodore Géricault (1791–1824). His treatment of colour and visual space makes it clear that in studying Géricault’s work he is primarily interested in the possibilities offered by painting. .HUEHU9HUODJ ISBN 9783866786967 hardback 64 pages 36 colour illustrations 305 x 243 mm (QJOLVKDQG*HUPDQWH[W .HUEHU9HUODJ ISBN 9783866787339 softback 130 pages 66 colour, 16 b&w illustrations 290 x 230 mm (QJOLVKDQG*HUPDQWH[W edited by Wilma Hurskainen .HUEHU9HUODJ ISBN 9783866786042 hardback 112 pages 48 colour illustrations 270 x 220 mm text by Ulrike Münter edited by Philipp Bollmann IN VIEW is the second volume of a publication series on the Wemhöner collection. Focusing on one of the most important areas of the collection, this publication provides an exciting glimpse into contemporary photography’s wide- ranging trends. The spectrum covered here ranges from the classical portrait to time-exposure landscape photography, the nude and fashion, digitally edited photographs, staged photographs and performance, all the way to overpainting and collage. text by Ilya Kabakov In parallel with his work as a graphic artist and illustrator in the Soviet Union, Ilya Kabakov also focused on painting very early in his career. Painting has also been a key feature of the countless installations that he has produced in recent decades. ‘The tradition of depicting ‘reality’ demands the depiction of an object D¿JXUHWKLQJVEXLOGLQJVHWF against the background of some space, and the resulting principle has not radically wavered over the course of the entire history of art. This principle is rejected in the works presented here: the viewer sees only space against the background of other space.’ (Ilya Kabakov) .HUEHU9HUODJ ISBN 9783866786813 hardback 36 pages 14 colour illustrations 295 x 295 mm (QJOLVK*HUPDQDQG5XVVLDQWH[W .HUEHU9HUODJWEF ISBN 9783866786592 hardback 230 pages tbc illustrated in colour and b&w 280 x 240 mm 25 AUTUMN 2012 Fabian Marcaccio Jens Nagels Some USA Stories Floating text and edited by Martin Hentschel text by Eva Schestag Fabian Marcaccio moves between genres. Painting is always his starting point;; from there, he strikes out into real space in various ways, including monumental installations and works with sculptural dimensions. Recently, Marcaccio has increasingly focused on current sociopolitical themes. The title of his exhibition and catalogue, Some USA Stories – and the series of twelve new works – refer to the dark side of recent American history: the Waco disaster in Texas, the mass suicide decreed by Jim Jones in Guyana, the Fallujah massacre in Iraq, and the student murders at Columbine High School. .HUEHU9HUODJ ISBN 9783866787353 hardback 144 pages 105 colour, 2 b&w illustrations 260 x 220 mm (QJOLVKDQG*HUPDQWH[W edited by Jens Nagels In Floating, photographer Jens Nagels takes us on a journey through Southeast Asia. From one place to the next, adrift from one encounter to another, he takes everything in with the watchful eye of a traveller. He records everyday life with his camera, even things that perhaps do QRWVHHPLPSRUWDQWDW¿UVWJODQFH But he overrules this and takes these things with him because they are actually unique. The result is a mosaic of photos, sorted in groups and according to themes, which invites us to look more closely, make comparisons and discover the everyday and cultural rites. .HUEHU9HUODJ ISBN 9783866786677 hardback 108 pages 945 colour, 2 b&w illustrations 220 x 210 mm (QJOLVKDQG*HUPDQWH[W Nothing – and Everything Obsessions THE OPÉRA Private Function R. B. Kitaj (1932–2007) The De-Stijl Artist Friedrich Vordemberge-Gildewart texts by Tracy Bartley, Inka Bertz, Edward Chaney, Roman Martin Deppner, Michal Friedlander, Eckhart Gillen, Cilly Kugelmann, David N. Myers Annual Magazine for Classic & Contemporary Nude Photography Volume I Art Photography in the GDR 1949–1989 texts by Roman Zieglgänsberger, Evelyn Bergner, Vera Klewitz edited by Museum Wiesbaden Friedrich Vordemberge-Gildewart (1899–1962) was one of the PRVWLQÀXHQWLDODUWLVWVRI*HUPDQ Constructivism and, amongst other things, a member of the De Stijl group surrounding Piet Mondrian and Theo van Doesburg. 2012 marks the 50th anniversary of his death DQGLVD¿WWLQJRFFDVLRQIRUWKLV richly illustrated survey of his work. Selected works and documents, some of them never before made public, present Vordemberge- Gildewart not only as a painter and graphic artist but also as an interior designer, typographer and architect. Sketches and photocollages from his visitors’ books also give a picture of his artistic environment, which included not only László Moholy- Nagy and Hannah Höch but also writers such as Joachim Ringelnatz. Published to accompany the exhibition nichts – und alles, Der De- Stijl-Künstler Friedrich Vordemberge- Gildewart, at Museum Wiesbaden, 24 November 2012 – Spring 2013. edited by Jüdisches Museum Berlin Together with his artist friends Frank Auerbach, Lucian Freud and Leon Kossoff, the American artist R. B. Kitaj was one of the pioneers of DQHZW\SHRI¿JXUDWLYHDUWLQWKH 1960s. Ten years later, in the mid- 1970s, Kitaj positioned himself as a Jewish artist and saw himself as an instigator of a modern Jewish art movement. It is worth rediscovering the importance of this aspect of Kitaj’s oeuvre. Strong colours and a wealth of motifs and pictorial citations, which add to the mystery of the painting, are characteristic of all his works. Published to accompany the exhibition Obsessions: R.B. Kitaj (1932–2007), 21 September 2012 – 27 January 2013 at Jüdisches Museum Berlin. .HUEHU9HUODJWEF ISBN 9783866787315 hardback 256 pages tbc illustrated in colour 310 x 240 mm Marrano (The Secret Jew), 1976. Oil and charcoal on canvas © Kitaj Estate. Courtesy of Michael Moritz and Harriet Heyman artists: Barron Claiborne, Bart Hess, Bear Kirkpatrick, Christian Coigny, Christian Kettiger, Christian Witkin, Cynthia Berger, David Bellemere, David Lindsey Wade, David Spaeth, Elene Usdine, Eric Marrian, Imogen Cunningham, Jo Schwab, Joachim Baldauf, Jonathan Narducci, Joon Kim, Joscha Kirchknopf, Jürgen Klauke, Madame Peripetie, Marc van Dalen, Michael Barolet, Mona Kuhn, Olivier Valsecchi, Quentin de Briey, Rene Fietzek, Ruben Brulat, Valeria Mitelman Friedrich Vordemberge-Gildewart, Composition No. 35, 1927, Museum Wiesbaden 26 texts by Ulrich Domröse, Jana Duda, T. O. Immisch, Andreas Krase, Bernd Lindner, Gabriele Muschter, Urs Stahel, Uwe Warnke, Daniela Zeilinger edited by Berlinische Galerie text and edited by Matthias Straub The aesthetic and cultural wealth, the long tradition and classical status of opera as a high-art function here as an inspirational metaphor for a volume of photographs published annually and which deals with the most sensitive and direct kind of portrait: nude photography – the human body as both stage and theatre play. The publisher Matthias Straub presents a rich spectrum of large and small portrayals, with both young, as yet unknown, nude photographers and classic works by OLYLQJDQGGHDGPDVWHUVRIWKLV¿HOG .HUEHU9HUODJWEF ISBN 9783866787483 softback 200 pages tbc illustrated in colour and b&w 310 x 240 mm Photo credit: Jo Schwab .HUEHU9HUODJWEF ISBN 9783866787261 hardback 160 pages tbc illustrated in colour 250 x 195 mm artists: Arno Fischer, Christian Borchert, Evelyn Richter, Gundula Schulze Eldowy, Helga Paris, Jens Rötzschs, Kurt Buchwald, Maria Sewcz, Peter Langner, Roger Melis, Sibylle Bergemann, Sven Marquardt, Thomas Florschuetz, Tina Bara, Ulrich Wüst, Ursula Arnold How did free art photography express itself under the authoritarian conditions prevailing in the former East Germany (GDR)? And how did it change over the decades? This exhibition catalogue features a total of 33 selected photographers who show how, despite numerous obstacles, free art photography did H[LVWDQGFULWLFDOO\UHÀHFWHGVRFLDO conditions. The selected positions convey the most important threads of development: montage and experimentation, documentary perspective and social reportage and the work of young newcomers in the 1980s. Published to accompany the exhibition .QVWOHULVFKH)RWRJUD¿HLQ der DDR 1949–1989 at Berlinische Galerie, Berlin, 4 October 2012 – 28 January 2013. .HUEHU9HUODJWEF ISBN 9783866786882 hardback 328 pages tbc illustrated in colour and b&w 270 x 230 mm (QJOLVKDQG*HUPDQWH[W Sibylle Bergemann, Susi, 1976 © Nachlass Sibylle Bergemann Berlinische Galerie 27 AUTUMN 2012 Cornelia Schleime Daniel Spoerri The colour, the body, the face, the eyes in the Natural History Museum – an Incompetent Dialogue? texts by Jean-Christophe Ammann, Anna Wesle texts by Christian Köberl, Margit Berner, Bazon Brock, Heike Eipeldauer, Reinhard Golebiowski, Gottfried Korff, Barbara Räderscheidt, Daniel Spoerri edited by Anna Wesle, Jean-Christophe Ammann Cornelia Schleime is one of the most important artists of our time. Her subjects are almost always women, in painting, drawings and ZDWHUFRORXUV+HU¿JXUHVDUHEDVHG as much on the eroticism of the line as on a mythical interplay of the human being and the animal being. Schleime’s pictures, some of which are large in scale, exert a fascination that cannot be escaped. She achieves something special: she knows instinctively how to generate the individual in an explosion of colour, immerse a body line into DUHÀHFWLRQRIOLJKWDQGLQWHJUDWH actions into the intimacy of a self- UHÀHFWLRQ3XEOLVKHGRQWKHRFFDVLRQ of the exhibition Cornelia Schleime: Die Farbe, der Körper, das Antlitz, die Augen at Museum Franz Gertsch, Switzerland, 24 March – 2 September 2012. .HUEHU9HUODJ ISBN 9783866786660 hardback 96 pages 69 colour illustrations 280 x 240 mm (QJOLVKDQG*HUPDQWH[W At the invitation of the Vienna Natural History Museum, Daniel Spoerri is embarking on an unconventional dialogue with objects in the museum’s collections. He juxtaposes his works of art with the collections, having been inspired to some of his assemblages by his tours of the museum. The dialogue is ‘incompetent’ insofar as Spoerri GLVSHQVHVZLWKDVFLHQWL¿FDSSURDFK in favour of an at-times ambivalent humour. This publication allows us to look at Spoerri’s works in a brand-new light by revealing in a thoroughly unusual manner the artist’s enthusiasm for museums of natural history, natural-history collections, and the high art of collecting. Published on the occasion of the exhibition Daniel Spoerri in the Natural History Museum – an Incompetent Dialogue? at the Natural History Museum, Vienna, 23 May – 17 September 2012. .HUEHU9HUODJ ISBN 9783866787285 hardback 192 pages 92 colour illustrations 240 x 166 mm Verlag der Buchhandlung Walther König distributed by Cornerhouse in the UK Morton Bartlett Secret Universe 3 text by Lee Kogan edited by Claudia Dichter, Udo Kittelmann When Morton Bartlett died at the age of 83 his relatives found 15 chests containing half-life-size dolls and accessories: twelve girls and three boys, self-sewn clothes, black-and-white photographs of the dolls as well as countless studies and archive material. Bartlett began designing these dolls, as true to nature as possible, in the mid-1930s. He studied anatomy books and the history of costume, learned to sew and to mould with clay. Each ¿JXUHWRRNXSWRRQH\HDUWRFUHDWH Bartlett designed various costumes and made wigs for each of his dolls and then staged them in life-like situations and photographed them. All of this work was created for purely private purposes and was never shown during his lifetime. The dolls, approximately 200 black and white photographs, drawings, FRORXUVOLGHVDQGFRVWXPHVZHUH¿UVW discovered in 1993. This publication DFFRPSDQLHVWKH¿UVWVRORH[KLELWLRQ of work by Morton Bartlett in a German museum. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351625 softback 104 pages 39 colour, 44 b&w illustrations 245 x 205 mm (QJOLVK)UHQFKDQG*HUPDQWH[W 28 Daniel Buren William S. Burroughs Shezad Dawood Excentrique(s), Monumenta 2012: Esquisses Graphiques CUT Piercing Brightness text by Ian MacFadyen texts by Mark Bartlett, Shumon Basar, Jean Fisher, Mathew G. Gregory, Abdellah Karroum, Ghalya Saadawi, Elaine Speight & Charles Quick, Michael Stanley, Sam Thorne ‘The drawings I make are a way of trying to understand what my imagination would like. A long time ago, I wrote about what I meant by “drawing”, and why I don’t use this term when I “draw” on a sheet of paper. For me, drawing is found in my works, in situ, shapes that form in space, walls that are built and that form curved, straight and broken lines. Anything that helps me clarify certain thoughts, on the other hand, constitutes a “graphic sketch”. My handwritten texts fall into this category.’ (Daniel Buren, March 2012). Daniel Buren is the Monumenta 2012 guest artist. This book, a collection of preparatory sketches for his project underneath the nave at the Grand Palais, follows the development of Excentrique(s) from the initial research – abandoned, remodelled, mixed – to WKHGH¿QLWLYHFKRLFHV 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9791090490086 softback 108 pages illustrated in colour and b&w 280 x 210 mm English and French text edited by Axel Heil This book presents a wide selection of the artistic output of the writer William S. Burroughs, and shows works that he created during the 1960s with Brion Gysin, Ian Sommerville, and Anthony Balch under the name of ‘The Third Mind’ as well as ‘Collaborations’ with other artists such as John Giorno and *HRUJH&RQGR,DQ0DF)DG\HQ‫ތ‬V essay explores the varied connections between literary and experimental visual production which are also traceable in the interview, made by Jean-Jacques Lebel in Paris in 1982, that is published here for the ¿UVWWLPHLQ(QJOLVK7KHLQWURGXFWLRQ by Axel Heil focuses on ‘the future of WKHSDVW¶UHVHDUFKLQJWKHLQÀXHQFHRI %XUURXJKV‫ތ‬LGHDVH[SHULPHQWVDQG methods on a younger generation of artists. Published to accompany the exhibition The Name is Burroughs at ZKM, Zentrum für Kunst und Medien, Karlsuhe and Deichtorhallen +DPEXUJ6DPPOXQJ)DOFNHQEHUJLQ 2012–2013. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352295 softback 164 pages 100 colour and b&w illustrations 240 x 170 mm edited by Gerrie van Noord Piercing BrightnessLVWKH¿UVWPDMRU monograph on the work of British artist Shezad Dawood. For a number of years, Dawood has developed a unique, discursive and collaborative approach to making art through a practice that incorporates light VFXOSWXUHWH[WLOHSDLQWLQJDQG¿OP Known for his tumbleweeds – ironic sculptural fusions of Islamic and contemporary culture, Dawood gained international acclaim for Feature, a ‘zombie Western’ set in the English countryside. Concentrating on the artist’s HQJDJHPHQWZLWK¿OPDQGSDUWLFXODUO\ KLVVFLHQFH¿FWLRQIHDWXUHPiercing Brightness, this publication features images of past exhibitions, projects and individual works. Contrary to the classic catalogue raisonné structure of artists’ monographs, this publication functions as a meta- text, highlighting recurrent ideas and themes in Dawood’s practice. Published on the occasion of the exhibition Shezad Dawood: Piercing Brightness, touring the UK in 2011–12. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351465 hardback 160 pages 103 colour, 60 b&w illustrations 270 x 170 mm 29 AUTUMN 2012 Jan De Cock Thomas Demand Explosion! Hans-Peter Feldmann Urs Fischer Morgan Fisher A Romantic Exhibition Executive Painting as Action Catalogue Madame Fisscher Two Exhibitions texts by Johan Holten, Liene Aerts, Luc Dereyke texts by Thomas Demand, Karl Schlögel, Bart Lootsma, Karola Kraus texts by Brigitte Huck, Helena Tatay texts by Caroline Bourgeois, Patricia Falguières, Michele Robecchi edited by Johan Holten edited by Museum für moderne Kunst (MumoK) Vienna artists include: Adel Abdessemed, Allan Kaprow, Andy Warhol, Bruce Nauman, Cai Guo-Qiang, Ceal Floyer, Francis Alÿs, George Brecht, Jackson Pollock, Jean Tinguely, John Baldessari, John Cage, Jutta Koether, Lawrence Weiner, Niki de Saint-Phalle, Paul McCarthy, Robert Rauschenberg, Tony Conrad, Yoko Ono, Yves Klein texts by Thom Andersen, Rainer Bellenbaum, Sabeth Buchmann, Yve-Alain Bois, Morgan Fisher Jan De Cock creates structures LQVSDFHZLWKDQDUFKLWHFWXUDOÀDLU that operate as complex systems of interlocking fragments. The beholder is compelled to engage with the formal language of highly condensed sculptures made of industrially produced materials that assemble repetitions and variations of individual modules into expansive overall compositions. This publication is designed as a handbook offering a systematically structured overview of Jan De Cock’s art. Detailed descriptions interweave to produce an encyclopaedic wealth of details and minute observations that ultimately call the very idea of the organised survey in question. The artist himself has already published six so-called ‘Cahiers’ that, together with this handbook, illustrate his preoccupation with a twentieth- century icon: Jacqueline Kennedy Onassis. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351717 softback 192 pages 44 colour illustrations 270 x 180 mm (QJOLVKDQG*HUPDQWH[W 30 As a compliment to the extensive range of literature on the work of Thomas Demand, this book explains the artist’s working method using two striking and complex pieces: Presidency, 2008 and Embassy, )RUWKH¿UVWWLPHWKH production process of these works is documented, page for page, in LOOXVWUDWLRQV$W¿UVWWKHSKRWRJUDSKV appear to be of real, existing places. At second glance, however, they prove to be clever reconstructions of reality. Using photographic templates from the media, the artist builds life- size models, accurate to the smallest detail, which he then photographs, DQG¿QDOO\GHVWUR\V%HKLQGKLV work, which is originally based on a sculptural concept, is an extremely labour-intensive and time-consuming process. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783865608826 softback 112 pages 42 colour, 3 b&w illustrations 180 x 140 mm (QJOLVKDQG*HUPDQWH[W texts by Maguns af Petersens, Julia Robinson, Ming Tiampo HGLWHGE\$QQ6R¿1RULQJ'DQLHO%LUQEDXP After the second world war, a number of painters in different parts of the world began to attack painting’s fundamental assumptions in ways that were at once both aggressive and playful. The creative act itself was as important as the painting that resulted from it. In this borderland between painting and performance, chance or the spectator were often recruited as co-creators of the work. In recent years, interest in performance art has increased, and with it interest in its roots. Explosion! Painting as Action explores the connections and cross fertilisations between painting, performance and conceptual art. Published to accompany the exhibition at Moderna Museet, Stockholm, 2 June – 9 September 2012. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351915 softback 224 pages 200 colour illustrations 280 x 217 mm English and Swedish text edited by Helena Tatay edited by Urs Fischer Hans-Peter Feldmann rose to prominence in the early 1970s, earning worldwide acclaim for his expansive and encyclopaedic photographic series. Often presented in the form of books, posters, postcards and installations, these collections link Feldmann’s life-long fascination with collecting elements of visual culture. Among the earliest works is a series of booklets titled Bilder (Pictures), each consisting of a collection of photographs of everyday subjects or situations. His Time Series, produced during the mid 1970s, expanded upon this, chronicling the most banal events frame by frame, thereby effectively slowing down the passage of time. Published to accompany Feldmann’s major exhibition at the Serpentine Gallery, London, 11 April – 3 June KLV¿UVWVRORSUHVHQWDWLRQLQD London public gallery, he presents works from throughout his career. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351472 hardback 232 pages illustrated in colour and b&w 305 x 240 mm (QJOLVKDQG*HUPDQWH[W edited by Sabine Folie, Susanne Titz Bringing together more than 30 works from numerous international collections spanning almost two decades of genre-crossing production, Madame Fisscher, Urs Fischer’s solo exhibition at Palazzo Grassi in Venice in 2012, presents an overview of the artist’s career from the late 1990s to the present day. The exhibition is populated by meticulous reconstructions of familiar objects that seemingly defy gravity – live nude models, a half-dog whose tail wags like a metronome, ZD[¿JXUHVZKRVHIRUPVPHOWRYHU time, a levitating birthday cake, and a sprawling installation that escapes WKHFRQ¿QHVRIWKHJDOOHULHVWR LQ¿OWUDWHWKHSXEOLFVSDFHVRIWKHFLW\ All of this offers an opportunity to examine Fischer’s continuous search for new sculptural solutions, in which the artist’s material investigations are imbued with a poignant temporal dimension and a biting sense of humour. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9780984721030 softback 234 pages illustrated in colour and b&w 250 x 200 mm English, French and Italian text American artist Morgan Fisher became prominent in the early VDVDQH[SHULPHQWDO¿OPPDNHU in the structuralist milieu, whose main interest was not the content of that depicted but rather the analysis of the medium itself. In the mid 1990s Fisher turned to monochrome painting and the installation of monochrome paintings. Fundamental questions on the history and aesthetic of perception as well as its inscription in genres and technologies are central in all of Morgan Fisher’s work. Foregoing the illusionism of narrative, Fisher reveals the conditions of perception LQKLV¿OPVDQGUHÀHFWVWKHFUHDWLRQ DQGWKHQDWXUHRIWKH¿OPLFLPDJH His post-conceptual painting deals with the relation between colour, size and form of an image, frames, the UHODWLRQVKLSRI¿JXUHDQGJURXQGDV well as the observer’s point of view – themes that have been contested since the abstraction of modernism and minimalism. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351694 hardback 244 pages illustrated in colour and b&w 280 x 200 mm (QJOLVKDQG*HUPDQWH[W 31 AUTUMN 2012 Forget Fear 7th Berlin Biennale for Contemporary Art texts by Pawel Althamer, Gábor Bakos, Yael Bartana, Daniel Blatman, Einar Örn Benediktsson, Christian Boltanski, Galit Eilat, Julián García, Jón Gnarr, Jan Tomasz Gross, Jerzy Hausner, Péter Juhász, Gideon Levy, Renzo Martens, Antanas Mockus, Joanna Mytkowska, Luis Ospina, den Pixadores, Srda Popovic, Alison Ramer, Dorota Sajewska, Árpád Schilling, Marcin Sliwa, ,JRU6WRN¿V]HZVNL+DQV&KULVWLDQ7lXEULFK Joanna Tokarska-Bakir, Fernando Vallejo, Olafur Eliasson edited by Artur Zmijewski, Joanna Warsza This book is a reader of the 7th Berlin Biennale for Contemporary Art (2012) and a manifesto. Artur Zmijewski writes in his foreword: ‘This publication is a report on the process of arriving at real action within culture, at an artistic pragmatism. What interested us were concrete activities leading to visible HIIHFWV:HZHUHLQWHUHVWHGLQ¿QGLQJ answers, not asking questions. We were interested in situations in which solutions are implemented responsibly… We consider politics to be among the most complex and GLI¿FXOWRIKXPDQDFWLYLWLHV:H met artists, activists, and politicians who engage in substantive politics through art. The book is the result of our encounters with those people.’ Includes an audio CD created by artist, Teresa Margolles. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351298 VRIWEDFNDXGLR&'SDJHV 19 colour, 32 b&w illustrations 210 x 150 mm 32 The Future Will Be... China Cyprien Gaillard Thoughts on What’s to Come: Curated by Hans Ulrich Obrist texts by Hal Foster, Marion von Osten, Susanne Pfeffer texts by Hans Ulrich Obrist, Ginevra Elkmann, Philip Tinari edited by Karen Marta, Philip Tinari Internationally celebrated curator Hans Ulrich Obrist is often asked about the future of art. His answer is always that we have to listen to artists. Since 2005, Obrist has expanded this narrative to ask not only artists but also writers, architects, mathematicians, scientists, poets, photographers, designers, novelists, professors, lawyers, actors, and philosophers to complete the sentence, ‘The future will be... ‘, resulting in a range of different readings on what lies ahead. 7KH¿UVWLQDVHULHVRISXEOLFDWLRQV the China edition of The future will be… is a collection of answers to Obrist’s question from protagonists working in China, and encourages readers to delve into the futuristic imaginings of a profoundly complex society. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9789881622327 softback 300 pages 38 colour and b&w illustrations 184 x 128 mm The Recovery of Discovery edited by Susanne Pfeffer Preserving a monument goes hand in hand with destroying it. In order to preserve architecture, cultural monuments and relics, they are often re-located, allowing urban displacement to arise – leading to the disappearance of the concept of autonomous geography and archaeology. The dislocation of a monument does not only alter the history of its original location, but also leads to a radical re-interpretation of the monument itself. For his exhibition in 2011 at KW Institute for Contemporary Art, Berlin, Cyprien Gaillard created a new work containing complex implications, which will only be revealed through DQDFWRIFRPSOHWHGH¿DQFH Similar to public amnesia, lost in the hopeless interaction with the monument, the gradual destruction becomes a part of the aesthetic of resistance. This catalogue depicts the gradual destruction of the sculpture and features a conversation with Cyprien Gaillard and Susanne Pfeffer. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.RHQLJ ISBN 9783863352059 softback 84 pages 50 colour illustrations 360 x 270 mm (QJOLVKDQG*HUPDQWH[W Herzog & de Meuron + Ai Weiwei Serpentine Gallery Pavilion 2012 texts by Julia Peyton-Jones, Hans Ulrich Obrist, Jacques Herzog, Pierre de Meuron, Ai Weiwei, Joseph Rykwert The design team responsible for the celebrated Beijing National Stadium, which was built for the 2008 Olympic Games, comes together again in London in 2012 for the Serpentine’s acclaimed annual commission, being presented as part of the London 2012 Festival, the culmination of the Cultural Olympiad. The Pavilion is Herzog & de Meuron and Ai Weiwei’s ¿UVWFROODERUDWLYHEXLOWVWUXFWXUHLQ the UK. This year’s Pavilion will take visitors beneath the Serpentine’s lawn to explore the hidden history of its previous Pavilions. Eleven columns characterising each past Pavilion and a twelfth column representing the current structure will VXSSRUWDÀRDWLQJSODWIRUPURRI metres above ground. The Pavilion’s interior is clad in cork, a sustainable building material chosen for its unique qualities and to echo the excavated earth. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352202 hardback 140 pages 71 colour, 10 b&w illustrations 255 x 220 mm Laura Horelli Image Counter Image texts by Klaus Wowereit, Marius Babias, Kathrin Becker, Sophie Goltz, Maeve Connolly, Dieter Roelstraete DUWLVWV$GHOD-XãLü$KODP6KLEOL$OIUHGR Jaar, Hans-Peter Feldmann, Harun Farocki, -DVPLODäEDQLü-RKQ6PLWK/DQJODQGV%HOO Monika Huber, Nin Brudermann, Omer Fast, Radenko Milak, Roy Samaha, Sean Snyder, Téo Hernandez, Thomas Ruff, Thomson & Craighead, Trevor Paglen, Wilhelm Sasnal edited by Kathrin Becker, Marius Babias, Sophie Goltz This catalogue documents for the ¿UVWWLPHWKHEURDGRHXYUHRIWKH artist Laura Horelli. In addition to text-based works and photographs, Horelli in particular uses video as a medium, sometimes also in multi-channel video installations. In her research she focuses on communicative processes and their media, and political and social requirements in the globalised world. Horelli’s conceptual objective is to approach ‘reality’ in a subjective way, in order to excerpt urban environments, events and relationships from her past and current residences from their original contexts and to link them in a new way. This creates an intertext, which connects the different courses of time as well as their subtexts, and at the same time undermines the documentary representative. Published on the occasion of Horelli’s solo exhibition at Neuer Berliner Kunstverein (n.b.k.), Berlin, 29 November 2011 – 20 January 2012. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351137 softback 184 pages illustrated in colour and b&w 230 x 160 mm (QJOLVKDQG*HUPDQWH[W texts by David Levi Strauss, Marion G. Müller, Georges Didi-Huberman, Tom Holert edited by Okwui Enwezor, Patrizia Dander The exhibition Image Counter Image, at Haus der Kunst, Munich, 10 June – 16 September 2012, focused on WKHFULWLFDODQDO\VLVRIYLROHQWFRQÀLFWV in the media, beginning with the First Gulf War of 1990–1991 to the September 11, 2001 terrorist attacks on the World Trade Center, and ending with the events of the Arab Spring of 2011. Media coverage has FKDQJHGVLJQL¿FDQWO\LQWKHODVWWZR decades. Through the Internet and, more recently, via Web 2.0’s social media, communication channels have been expanded to include opportunities for direct peer-to- peer exchange. Because of their decentralised structures, these FKDQQHOVDUHGLI¿FXOWWRFRQWURODQG are used as an alternative source of reporting on political events (even if the role of social media in crisis remains controversial). 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352080 softback 200 pages 146 colour illustrations 285 x 215 mm (QJOLVKDQG*HUPDQWH[W 33 AUTUMN 2012 Anthony McCall Five Minutes of Pure Sculpture text by Noam M. Elcott edited by Henriette Huldisch, Udo Kittelmann The works of Anthony McCall exist RQWKHERXQGDULHVEHWZHHQ¿OP sculpture, and drawing. They are ÀHHWLQJDQG\HWWKH\DSSHDUVROLG and tangible, inviting the viewer to LQWHUDFWZLWKWKHDUWZRUN0F&DOO¿UVW became known in the early 1970s with his unique light installations, Solid Light Films. These consisted of animated lines of light projected in a dark, misty room;; the resulting three dimensional forms slowly move about the space. The artist began this VHULHVLQZLWKWKHLQÀXHQWLDO¿OP Line Describing a Cone, and further developed his ideas in installations such as Long Film for Four Projectors (1974). Following a creative hiatus of over 20 years, McCall returned to these projects after the turn of the millennium. The availability of computer animation and digital projection has given him the means to formulate his conceptual work in new ways. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351557 softback 96 pages illustrated in colour and b&w 300 x 235 mm 34 Paul McCarthy & Damon McCarthy Caribbean Pirates: 13 Video Projections edited by Hubert Klocker Paul McCarthy has always staged his ‘battles of material’ in unusual settings. This picture book, designed by the artist himself, offers a glimpse LQVLGHKLVH[SDQVLYH¿OPDWHOLHU at the staging of the performance Caribbean Pirates from 2006 – a scenic allusion to political power and conquest phantasmagoria steeped in sex, in which the genre of piracy, always popular in Hollywood mythology, is paraphrased. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351939 softback 102 pages illustrated in colour 300 x 265 mm (QJOLVKDQG*HUPDQWH[W Dieter Meier Roman Ondák Yoko Ono John Pawson Works 1968–2012 and the Yello Years Observations TO THE LIGHT Katalog texts by Julia Peyton-Jones, Hans Ulrich Obrist, Alexandra Munroe, Chrissie Iles text by Alison Morris Yoko Ono: TO THE LIGHT has been published on the occasion of Yoko Ono’s exhibition at the Serpentine Gallery. Including seminal works IURPWKURXJKRXWKHUSUROL¿FFDUHHU WKHH[KLELWLRQUHÀHFWVXSRQWKH enormous impact that she has made on contemporary art, exploring her LQÀXHQWLDOUROHDFURVVDZLGHUDQJH of media. Catalogue texts include an in-depth discussion of the Serpentine Gallery exhibition by Alexandra 0XQURHDQGRI2QR‫ތ‬VXVHRI¿OPDVD medium by Chrissie Iles. The essays are accompanied by an interview with the artist by Julia Peyton-Jones and Hans Ulrich Obrist. Published on the occasion of the exhibition Yoko Ono: TO THE LIGHT at Serpentine Gallery, London, 19 June – 9 September 2012. John Pawson is a master of minimalism. The buildings and objects of this internationally renowned British architect are characterised by his art of ‘leaving out’ – they fascinate with their pure effects of space, proportion, light and PDWHULDO,QÀXHQFHGE\-DSDQHVH culture and minimalist art, Pawson GH¿QHVKLVLGHDRIWKHPLQLPXP as perfection and quality that arises when every detail and every connection is reduced to that which is essential. With models, large-format photographs, material studies and objects, this publication provides an overview of John Pawson’s work and demonstrates the phenomenon of ‘emptiness’. This book presents, amongst others, his own house in London (1999), the Cistercian monastery Novy Dvur in the Czech Republic (2004), the footbridge Sackler Crossing in Kew Gardens, London (2006), and the Stone House for La Triennale di Milano (2010). Published as part of the exhibition John Pawson held in the Architekturmuseum der TU München at Pinakothek der Moderne, 1 May 2012 – 20 May 2012. texts by Stefan Zweifel, Harald Falckenberg, Max Dax, Dieter Meier edited by Harald Falckenberg, Stefan Zweifel Giving Dieter Meier – conceptual artist, performer, ’elementary’ VLWXDWLRQLVWSRHWHVVD\LVW¿OPPDNHU and of course musician and lyricist, who together with Boris Blank wrote music history under the moniker <(//2DQG¿QDOO\FDWWOHEUHHGHU who successfully runs restaurants in Zurich with organic meat and choice red wine from his Argentinian ODWLIXQGLXP±D¿WWLQJLQWURGXFWLRQ is not easy. This comprehensive monograph, which includes a catalogue raisonné and is produced in conjunction with exhibitions in Hamburg and Karlsruhe, presents WKHYDULHW\RIWKLVH[FHSWLRQDODUWLVW‫ތ‬V activities and tracks the uninterrupted course of his artistic production with a richly illustrated overview of his work. ,QFOXGHGLVD'9'RIHDUO\¿OPVDQG music videos by the band YELLO. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351960 hardback 272 pages 600 colour illustrations 306 x 228 mm In his seminal work Observations (1995–2011) Ondák cut from a book – perhaps a monograph on perception – a series of details comprising images and captions. Presented on the gallery walls singly or combined in diptychs and triptychs, these cuttings form a universal vocabulary of individual and collective relationships and exchanges, of physical movements, mental projections, momentary intuitions, or suspended states of mind on which the artist’s research is grounded. Hung at various levels, the images and their laconic texts capture subtle, nuanced psychological situations and ordinary attitudes through a balanced combination of similar and contrasting gestures, postures, and gazes. The exhibition space is ‘edited’ by this intervention. In these works, where micro and macro mirror each other, Ondák does not provide an alternative to reality;; rather, he gives the audience a key with which to access and identify the variety of different observations and interpretations that reality offers. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351885 hardback 148 pages illustrated in colour and b&w 230 x 297 mm 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352219 softback 96 pages 4 colour, 40 b&w illustrations 255 x 220 mm edited by Winfried Nerdinger 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351496 hardback 128 pages 128 colour and b&w illustrations 240 x 170 mm (QJOLVKDQG*HUPDQWH[W 35 AUTUMN 2012 Slavica Perkovic Vertigo texts by Lewis Baltz, Gus Blaisdell & Jean- Claude Moineau Slavica Perkovic’s work has always thematised the confounding of events in her life with imagined or projected characters and scenarios. The Vertigo project began in 1995, inspired by the artist’s passion for +LWFKFRFN¶V¿OPDQGDOHQJWK\VWD\LQ San Francisco. Perkovic visited most of the locations in Vertigo and started to make a video reconstructing HOHPHQWVIURPWKH¿OPLQWHUPVZLWK her own story. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351328 hardback 188 pages 127 colour illustrations 275 x 155 mm Francis Picabia Pop Art Gerhard Richter Gerhard Richter Ed Ruscha texts by Zdenek Felix, Jean-Jacques Lebel, Rainer Metzger, Hans-Peter Wipplinger Europa / USA – From the Grosshaus Collection Beirut Drawings and Watercolours 1957–2008 Reading Ed Ruscha edited by Hans-Peter Wipplinger This monograph published on the occasion of the retrospective show on Picabia at Kunsthalle Krems, 15 June – 4 November 2012, shows key works of the artist from his various artistic phases. Picabia is considered to be a great innovator, provocateur, instigator, man about town, unconventional thinker and maverick of modernism who entered into art history both as a painter and a poet. Few artists of the twentieth century have expressed as many contradictory aspects and styles in their oeuvre as Picabia. This exhibition catalogue includes an extensive and illustrated biography, and a complete bibliography compiled by Stephanie Damianitsch. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352233 hardback 206 pages 200 colour and b&w illustrations 255 x 210 mm (QJOLVK)UHQFKDQG*HUPDQWH[W artists: Alex Katz, Allen Jones, Andy Warhol, David Hockney, Richard Hamilton, Roy Lichtenstein, Tom Wesselmann texts by Thomas Gädeke, Margret Schütte This catalogue offers a representative sample of the work of several pop artists: from America: Tom Wesselmann, Roy Lichtenstein, Andy Warhol and Alex Katz, from England: David Hockney, Allen Jones and Richard Hamilton and from Germany: Fritz Köthe. The focus of both the exhibition (Stiftung Schleswig- Holsteinische Landesmuseen, Schloss Gottorf, 6 May – 21 October 2012) and this accompanying catalogue is on paintings, works on paper and multiples by Wesselmann and Köthe. In addition, portfolios such as Hockney’s The Blue Guitar and June Ekman’s Class by Katz are presented in their entirety. The catalogue has an introduction by Thomas Gädeke and an essay by Margret Schütte, and includes a short biography and a list of selected solo exhibitions of each artist. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351588 softback 232 pages 152 colour illustrations 240 x 200 mm (QJOLVKDQG*HUPDQWH[W 36 texts by Lamia Joreige, Sandra Dagher, Achim Borchardt-Hume Gerhard Richter: Beirut presents a VLJQL¿FDQWQXPEHURIRYHUSDLQWHG photographs produced by Richter since the mid-1980s. Rarely seen in print, the overpainted photographs bring together the artist’s long- standing fascination with the nature of photography and the language of abstract painting. Based on Richter’s own photographic archives, the imagery ranges from domestic and family photos to holiday snaps, landscapes, mountain ranges and studio shots. Also featured is Museum Visit, a series of 234 over-painted photographs, each photograph having been taken during a typical busy day at Tate Modern. Published on the occasion RI5LFKWHU¶V¿UVWH[KLELWLRQLQ/HEDQRQ (developed by Beirut Art Center (BAC)) Gerhard Richter: Beirut also PDUNVWKH¿UVWSXEOLFDWLRQRQWKH artist’s work in Arabic. Conceived by Richter himself, the publication reads from one direction in English, from the other in Arabic, and includes a foreword by BAC directors Lamia Joreige and Sandra Dagher. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351779 softback 256 pages illustrated in colour and b&w 240 x 180 mm English and Arabic text texts by Henri Loyrette, Dieter Schwarz, Stéphane Hamelin In honour of the major retrospective devoted to the remarkable career of Gerhard Richter, initiated by Tate Modern in 2011 (touring to Nationalgalerie, Staatliche Museen zu Berlin, and Centre Pompidou, Paris) the Louvre, as a partner of this event, will exhibit in 2012 about 100 works on paper as well as the artist’s Two Sculptures for a Room by Palermo in the museum’s Mollien rooms of the Department of Prints and Drawings. Published on the occasion of the exhibition at Musée du Louvre, Paris, 7 June – 17 September 2012. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9791090490147 hardback 96 pages illustrated in colour and b&w 240 x 200 mm texts by Douglas Coupland, W. S. Di Piero, Beatrice von Bismarck, Yilmaz Dziewior edited by Yilmaz Dziewior Reading Ed Ruscha focuses on Ed 5XVFKD‫ތ‬VDUWLVWLFLQWHUHVWLQERRNV writing and the act of reading, which he has pursued continuously over ¿YHGHFDGHV:RUGVDQGWH[WDSSHDU in his work as motifs, as symbols or in the form of books as actual objects, and reading as a meaning- generating process is explored and manipulated through various artistic means. The essays written for this catalogue by the authors Douglas Coupland and W. S. Di Piero approach this aspect in literary- poetic form. Beatrice von Bismarck examines the status of the book as a piece of work, a publishing medium and an exhibition (format), while Yilmaz Dziewior gives an overview of (G5XVFKD‫ތ‬VGHDOLQJVZLWKWKHERRN as a medium and his relationship to the written word. Also included are large format illustrations of the exhibited works, exhibition views and a comprehensive appendix. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352325 hardback 256 pages illustrated in colour 300 x 240 mm (QJOLVKDQG*HUPDQWH[W 37 AUTUMN 2012 Thomas Schütte Public / Political texts by Ulrich Loock, James Lingwood, Hans Rudol Reust edited by Ulrich Loock Public / Political provides an overview of more than 30 years of work by Thomas Schütte. His art is characterised by stylistic variation. However, a common thread through this heterogeneous collection can be found in his reaction to political events and the presentation of his work in public spaces. Conversely, the concentration on political and public works of art enables exceptionally diverse pieces to be brought together in a coherent context. Each work, some of which DUHSXEOLVKHGKHUHIRUWKH¿UVW time, is annotated. Through the documentation of a discussion between Ulrich Loock and the artist comes the added complexity of access to Schütte’s own perspective on his political and public work. Included is an interview with Thomas Schütte by Ulrich Loock. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783865604149 hardback 220 pages 160 b&w illustrations 240 x 170 mm Larry Sultan and Mike Mandel Tal R Wolfgang Tillmans Man Over Board texts by Jonathan Lethem, Connie Lewallen, Carter Ratcliff, Thomas Wagner, Charlotte Cotton texts by Beate Ermacora, Jacob Fabricius, Magdalena Holzhey, Gregor Jansen FESPA Digital / FRUIT LOGISTICA edited by Thomas Zander This richly illustrated publication FKURQLFOHVIRUWKH¿UVWWLPHWKH collaborative artwork by Mike Mandel DQG/DUU\6XOWDQ7KHLUSUROL¿FDUWLVWLF collaboration began in 1973 when they were both graduate students at the San Francisco Art Institute. During the course of the next 12 years, they created 19 projects together. During this period their projects took the form of artists’ books, How To Read Music In One Evening, 1974, and Evidence, 1977;; a series of a dozen outdoor billboards in the form of hand painted photographs, silkscreen posters, oil paintings and digitally SULQWHGSRVWHUV±D¿OP JPL, 1980;; and an installation, Newsroom, 1983. Although they both pursued individual projects during this 12 year span they nurtured and developed an intense and focused artist collaboration. Their seminal work, Evidence has been widely recognised as a landmark photographic book. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352066 hardback 264 pages 190 colour, 60 b&w illustrations 248 x 288 mm 38 text by Wolfgang Tillmans edited by Beate Ermacora, Gregor Jansen Tal R has conceived this publication as an artist’s book with 36 double- sided panels on which the artist has arranged numerous small photographs – illustrations put together in the style of a photo album and then digitally photographed and reproduced. In this he sets his paintings, drawings, sculptures and collages as well as his excursions LQWRWKHJHQUHRI¿OP±DOOIURPWKH past 15 years – in new relationships to one another and creates a kind of kaleidoscope of his work to date in a very unique, idiosyncratic and fascinating way. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351601 hardback 104 pages illustrated in colour 330 x 230 mm About one year ago, Wolfgang Tillmans was prompted by his own curiosity to visit Fruit Logistica in Berlin, the most important convention for the international fruit trade. ‘I was left open-mouthed by the crazy displays and the variety and complexity of the international fruit trade and its processing machinery. I reacted with my camera straight away, but left the pictures for a while so I could look at them with a bit of distance, although I was immediately thinking of an artists’ book in the format of Concorde’ (Wolfgang Tillmans). The resultant 66 pictures DUHSXEOLVKHGQRZIRUWKH¿UVWWLPH – as an artists’ book in the format of his bestselling classic 1997 Walther König book Concorde. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863352110 softback 144 pages 120 colour illustrations 240 x 160 mm Utopia Gesamtkunstwerk YOU KILLED ME FIRST artists include: Christian Boltanski, Daniel Buren, Franz West, Gelatin, Gerwald Rockenschaub, Gordon Matta-Clark, Gregor Schneider, Heimo Zobernig, Hermann Nitsch, Ilya Kabakov, Isa Genzken, Jason Rhoades, Jonathan Meese, Joseph Beuys, Liam Gillick, Marcel Broodthaers, Markus Schinwald, Martin Kippenberger, Monica Bonvicini, Paul McCarthy, SUPERFLEX, Thomas Hirschhorn, Tom Burr, Valie Export texts by Sylvère Lotringer, Carlo McCormick, Jonas Mekas, Susanne Pfeffer, Jack Sargeant, Nick Zedd texts by Agnes Husslein-Arco, Werner Hofmann, Holger Birkholz, Boris Groys, Bettina Steinbrügge, Eva Kernbauer, Simon Baier, Joao Ribas, Anselm Franke edited by Agnes Husslein-Arco, Bettina Steinbrügge, Harald Krejci Utopia Gesamtkunstwerk attempts to analyse a phenomenon, which has been hotly debated for more than 100 years. Avant-garde art, in which the idea of the Gesamtkunstwerk WRWDOXQLYHUVDODUWIRUPFDPHLQWR EORRPKDVLQVWDOOHGD¿UVWVKLIWLQ meaning of the term as a unit of art and life. This publication and the exhibition Utopia Gesamtkunstwerk (21er Haus, Vienna, 20 January – 20 May 2012) begins where Der Hang zum Gesamtkunstwerk ended (Harald Szeemann’s landmark show he curated in 1983). Featuring more than 50 artists from the 1950s until today it presents new views on the phenomenon. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351403 softback 242 pages illustrated in colour and b&w 245 x 200 mm The Cinema of Transgression edited by Susanne Pfeffer Nightmarish scenarios of violence, dramatic states of mind, and SHUYHUVHVH[XDODE\VVHV±WKH¿OPV of the Cinema of Transgression that were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. ,QWKHVDJURXSRI¿OPPDNHUV from the Lower East Side in New York went on a collision course with the conventions of American society. Sometimes shot with stolen camera HTXLSPHQWWKH¿OPVFRQWDLQVWULGHQW analyses of life in the Lower East 6LGHGH¿QHGE\FULPLQDOLW\EUXWDOLW\ drugs, AIDS, sex, and excess. Even though the movement has remained largely unknown, the Cinema of 7UDQVJUHVVLRQKDVEHHQDVLJQL¿FDQW LQÀXHQFHIRUODWHUJHQHUDWLRQVRI artists. Published on the occasion of the exhibition YOU KILLED ME FIRST: Cinema of Transgression at KW Institute of Contemporary Art, Berlin, 19 February – 9 April 2012. 9HUODJGHU%XFKKDQGOXQJ:DOWKHU.|QLJ ISBN 9783863351571 softback 176 pages illustrated in b&w 295 x 210 mm (QJOLVKDQG*HUPDQWH[W 39 AUTUMN 2012 Lisson Gallery distributed by Cornerhouse world-wide Allora & Calzadilla Vieques Videos 2003–2010 text by Yates McKee edited by Dorothy Feaver Made over the course of a decade, Allora & Calzadilla’s videos Returning a Sound (2004), Under Discussion (2005) and Half Mast/Full Mast (2010) were shown together for WKH¿UVWWLPHDW/LVVRQ*DOOHU\ London. Each video addresses the complicated history of Vieques, an inhabited island off Puerto Rico that was used by the United States Navy as a bomb-testing range from 1941 until 2003. The Navy was forced to evacuate by a civil disobedience campaign waged by local residents, with supporters throughout the world. Allora & Calzadilla contributed to the visual culture of this campaign with a long-term, multi-sited project entitled Landmark, informed by questions such as: ‘How is land differentiated from other land by the way it is marked? Who decides what is worth preserving and what should be destroyed? How does one articulate an ethics and politics of land use?’ Published on the occasion of Allora & Calzadilla: Vieques Videos 2003 – 2011 at Lisson Gallery, London, 23 November 2011 – 14 January 2012. /LVVRQ*DOOHU\ ISBN 9780947830335 softback 88 pages 68 colour, 21 b&w illustrations 270 x 200 mm Richard Deacon Dan Graham Jason Martin Rashid Rana Association Not Yet Realised: Pavilion Drawings ,Q¿QLWLYH Everything is Happening at Once text by Francis Gooding Throughout his practice, Richard Deacon has employed diverse materials including wood, aluminium, plastic, steel, ceramic, glass, rubber, resin, polycarbonate, leather and cloth: exploiting their potential to create complex and challenging forms. It is a radical vocabulary that encompasses the organic, amorphous, geometric, rectilinear, intimate and monumental. Along with his continued interest in material exploration, Association illustrates Deacon’s fascination with the relationship of the individual component to the structural whole and new works in ceramic, aluminium and steel evidence this investigation. Published on the occasion of Richard Deacon: Association at Lisson Gallery, London, 11 May – 23 June 2012, this catalogue is a beautiful record of some of Deacon’s ceramic, steel and aluminium sculptures, made between 2009 and 2012. /LVVRQ*DOOHU\ ISBN 9780947830366 hardback 80 pages 39 colour illustrations 292 x 246 mm text by Brian Hatton edited by Dorothy Feaver 2QHRIWKHZRUOG¶VPRVWLQÀXHQWLDO conceptual artists, Dan Graham has been investigating the relationship between architectural environments and those who inhabit them since the late 1960s. His very personal and intuitive exploration of architectural space and perception has come to EHGH¿QHGE\KLVSDYLOLRQV%OXUULQJ the line between art and architecture, Graham’s pavilions comprise steel, mirror and glass structures that create diverse optical effects. Created as hybrids, they operate as quasi-functional spaces and art installations. Studies of space and light, they are situated in public spaces and are activated by the presence of the viewer. Rigorously conceptual, uniquely beautiful and avowedly public, the pavilions exhibit a deliberate disorientation and playfulness that Graham encourages. Published on the occasion of the exhibition Dan Graham’s Pavilions at Lisson Gallery, London, 21 March – 28 April 2012. /LVVRQ*DOOHU\ ISBN 9780947830373 softback 94 pages 52 colour, 25 b&w illustrations 210 x 170 mm text by Sue Hubbard Jason Martin makes paintings about paint – its materiality, sculptural presence and transformative, alchemical nature. The energy of Martin’s process is palpable in a new series of rich, dark, monochromatic oil on aluminium works. In Tempest (2011), the dense swathes of colour DUHDSSOLHGLQWKLFNÀXLGRYHUODLG brushstrokes. Light plays across the surface echoing the dynamism and vigour of its making. Sensual and tactile, each work in this group is GH¿QLWLYHO\DXWRQRPRXV7KHWLWOHV invite contemplation and emphasise the inherent narrative of the work but the meaning is mutable. Published on the occasion of the exhibition Jason 0DUWLQ,Q¿QLWLYH at Lisson Gallery, London in May 2012. /LVVRQ*DOOHU\ ISBN 9780947830359 hardback 88 pages 31 colour illustrations 267 x 251 mm texts by Alnoor Mitha, David Elliott, Hans Ulrich Obrist, Sarah Perks edited by Rute Ventura This publication celebrates internationally acclaimed artist 5DVKLG5DQD¶V¿UVWVRORSXEOLF exhibition in the UK. The exhibition Rashid Rana: Everything is Happening at OnceZDV¿UVW presented in Cornerhouse, Manchester in 2011 as part of the Asia Triennial 11 and subsequently in 2012 at New Art Exchange, Nottingham. It included new and recent works that cut across conventional notions of the scale and status of the photographic object, opening up its potential to represent cultural, social and physical realities. The beautifully illustrated publication includes an introduction by co-curators Alnoor Mitha, Artistic Director of Asia Triennial Manchester 11 and Research Fellow at MMU MIRIAD and Sarah Perks, Programme and Engagement Director, Cornerhouse;; an essay by David Elliott, curator, writer and cultural historian;; and an interview with Rashid Rana conducted by Hans Ulrich Obrist, curator, writer and Co-director at the Serpentine Gallery. The title is published by Lisson Gallery in association with Cornerhouse. /LVVRQ*DOOHU\&RUQHUKRXVH ISBN 9780955047893 hardback 120 pages illustrated in colour 285 x 215 mm Manchester City Galleries distributed by Cornerhouse world-wide The First Cut artists: Abigail Reynolds, Anderson M. Studio, Andrea Dezsö, Andrea Mastrovito, Andreas Kocks, Andy Singleton, Béatrice Coron, Chris Jones, Chris Kenny, Claire Brewster, Elisabeth Lecourt, Emma van Leest, Georgia Russell, James Aldridge, Justine Smith, Kara Walker, Laura Cooperman, Long-Bin Chen, Manabu Hangai, Mia Pearlman, Nicola Dale, Noriko Ambe, Peter Callesen, Rob Ryan, Sarah Bridgland, Su Blackwell, Susan Cutts, Susan Stockwell, Tom Gallant, Violese Lunn, Yuken Teruya edited by Fiona Corridan, Natasha Howes The First Cut is a major exhibition featuring new and recent works by over 30 international contemporary artists who work with paper in revolutionary ways. Featuring established and emerging artists from America, Australia, China, Denmark, France, Germany, Italy, Japan, Romania, Sweden and the UK, it explores how the humble scrap of paper is transformed into extraordinary creations, through cutting, folding and sculpting. The title alludes to the beginning of the creative process but also suggests a violent and sinister action. Published to accompany the exhibition The First Cut at Manchester City Galleries (Manchester Art Gallery and The Gallery of Costume), 4 October 2012 – 27 January 2013. 0DQFKHVWHU$UW*DOOHU\ ISBN 9780901673824 softback 96 pages illustrated in colour 240 x 170 mm Justine Smith, The Judge 2012 © the artist 40 41 AUTUMN 2012 Matt’s Gallery distributed by Cornerhouse world-wide Imogen Stidworthy (.) texts by Steven Connor, Mladen Dolar, Imogen Stidworthy, Caroline Bergvall, Alphonso Lingis This artist’s book designed by Jack Fisher focuses on encounters and spaces between languages through the work of Imogen Stidworthy with contributions from writers Caroline Bergvall, Steven Connor, Mladen Dolar and Alphonso Lingis, and artists Werner Feiersinger, Aglaia Konrad and Willem Oorebee. Taking Stidworthy’s artistic practice as a starting point, it traces paths between the images and texts to address related questions. Central to these LVDUHÀHFWLRQRQWKHYRLFHDQGWKH social and cultural borders which manifest in it. How are we located in the voice and language, and how does this shape our relation to ourselves, our bodies and the spaces we inhabit? Stidworthy’s voice runs through the book in the form of video stills, photographs, transcripts and research materials which are FRQ¿JXUHGZLWKWKHFRQWULEXWLRQV into new images and relationships. Published by Matt’s Gallery, London and the Jan van Eyck Academie, The Netherlands. 0DWW¶V*DOOHU\-DQYDQ(\FN$FDGHPLH ISBN 9780907623779 softback 256 pages illustrated in colour and b&w 240 x 170 mm 42 Alison Turnbull Sea the Stars texts by Ed Krcma, Alison Turnbull in conversation with Pat Fisher edited by Pat Fisher It is no surprise for an artist who deals with systems of information DQGFODVVL¿FDWLRQWUDQVODWLQJLPDJHV both methodically and intuitively through drawing and painting, that a catalogue, ‘a complete list of things;; usually arranged systematically’, would be unmistakably part of the process. Sea the Stars encompasses an array of Alison Turnbull’s research materials, key works and installation shots to create a new constellation from which to see the artist’s work. As Ed Krcma writes in his essay, one of the things Turnbull’s work reveals is that seeing is part of a dynamic relationship, involving immediate reactions and sustained thought. For those familiar with Turnbull this catalogue captures her creative work at an exciting point in its evolution, ZKLOHJHQHUDOO\LWHPERGLHVWKHÀDVK of recognition that accompanies the beautifully resolved images and ideas. Published on the occasion of the exhibition Alison Turnbull at Talbot Rice Gallery, University of Edinburgh, 10 March – 5 May 2012. 0DWW¶V*DOOHU\7DOERW5LFH*DOOHU\ ISBN 9781873108574 softback 64 pages 65 colour illustrations 170 x 270 mm Verlag für moderne Kunst Nürnberg distributed by Cornerhouse in the UK Amor Psyche Aktion – Wien The Feminine in Viennese Actionism artists: Günter Bus, Hermann Nitsch, Otto Muehl, Rudolf Schwarzkogler texts by Karl iro Goldblat, Pilar Parcerisas, August Ruhs, Michaela Pöschl, Almuth Spiegler, Andrea Schurian, Reinhard Priessnitz Viennese Actionism focused attention on individual freedom and helped create greater tolerance, both in the sexual and interpersonal sphere. The effects of the cultural shock triggered by the rebellion of Actionism, which was also against baroque Catholicism and the sacrosanct family, can still be felt today. Next to the internationally well known Actionists Hermann Nitsch, Otto Muehl, Günter Bus and Rudolf Schwarzkogler, today, the women, with their efforts to change things in the revolutionary 1960s, remain to a large extent unknown. They became involved in Actionism through their artist partners, whom they supported with physical actions. Viennese collector and gallery owner Julius Hummel has compiled visual material that quite emphatically presents the involvement of the feminine and androgynous, which consciously or subconsciously is contained in the work of the Activists. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843704 softback 338 pages 250 colour illustrations 220 x 165 mm The Art of William S. Burroughs Cut-ups, Cut-ins, Cut-outs texts by Synne Genzmer, Tim Head, C. A. Howe, Barry Miles, Jon Savage William S. Burroughs, an icon of the American Beat Generation, admired as a revolutionary and homosexual intellectual, and criticised for his enthusiasm for ¿UHDUPVHVWDEOLVKHGDQHZIRUP of writing: the cut-up method. Text fragments are intuitively strung together to form open associative narrative structures in order to expand the boundaries of language and describe human consciousness. Assembling Burroughs’s legendary shotgun paintings and cut-ups in such different media as text-image collages, photo montages, and tape experiments, the publication highlights the crossover character RIKLVRHXYUHZKLFKKDVLQÀXHQFHG wide areas of pop culture, music, and techniques of digital sampling. Included are the interviews: Colin Fallows with Barry Miles, Allen Ginsberg and Gregory Corso with William S. Burroughs, Lee Ranaldo with William S. Burroughs. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843155 hardback 176 pages illustrated in colour and b&w 245 x 195 mm (QJOLVKDQG*HUPDQWH[W The Circus as a Parallel Universe Candida Höfer artists include: Alexander Calder/Carlos Vilardebo, Bruce Nauman, Charles & Ray Eames, Charlie Chaplin, Cindy Sherman, Diane Arbus, Erwin Wurm, Federico Fellini, Jeppe Hein, Joe Scanlan, Jonathan Monk, Julian Rosefeldt, Julien Bismuth, Matthew Barney, Nives Widauer, Olaf Breuning, Peter Blake, Roni Horn, Simmons & Burke, Ugo Rondinone, Ulrike Lienbacher, Ulrike Ottinger, Zilla Leutenegger texts by Kaspar König, Isabel Pfeiffer- Poensgen, Eduard Beaucamp, Barbara Engelbach texts by Thomas Häusle, Gerald A. Matt, Matthias Christen, Synne Genzmer, Verena Konrad, Tinatin Natsvlishvili, Birgit Peter, Angela Stief, Martin Walkner, Cathérine Hug edited by Martin Walkner, Verena Konrad Curtain up for the world of acrobats, clowns and exotic animals! Contemporary artists introduce us to the world of the circus and focus on a wonderful location of place of cognition of the world, of surprises and sensations, a place of poetry, but also of excitement and anxiety. The circus, as a parallel world, has found a role as a projection surface, above all in the different genres of art. Published on the occasion of the exhibition The Circus as a Parallel Universe at Kunsthalle Wien, 4 May – 2 September 2012. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843179 softback 320 pages 127 colour, 25 b&w illustrations 250 x 200 mm Haus Ludwig On November 28, 2010 Professor Irene Ludwig died unexpectedly. In her will she bestowed a number of spectacular pieces and permanent loans from her estate to Museum Ludwig and Museum Schnütgen. 7RPDUNWKH¿UVWDQQLYHUVDU\RIKHU death, Museum Ludwig has installed a room exhibiting works from Peter and Irene Ludwig’s private collection that will be on public display for the YHU\¿UVWWLPH7KHVKRZFDVHZLOO also include three works by Candida Höfer that depict the couple’s private rooms. Before the artworks were brought to their new home in Museum Ludwig, the Peter and Irene Ludwig Foundation commissioned artist and photographer Candida Höfer to document the interior of their home in its original state. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843476 softback 96 pages illustrated in colour 225 x 170 mm (QJOLVKDQG*HUPDQWH[W 43 AUTUMN 2012 Hong Kong Artists MADE 4 YOU Made in Germany Zwei Manifesto Collage 20 Portraits Design for Change International Art in Germany artists: Adrian Wong, Chihoi, Chow Chun Fai, Eastman Cheng, Eric Sui, Florian Ma Ho Yin, Ho Sin Tung, Kwan Sheung Chi, Lam Tung- pang, Lee Kit, Leung Ka-yin Joey, Magdalen Wong, Morgan Wong, Nadim Abbas, Pak Sheung Chuen, Phoebe Hui, Samson Young, Tang Kwok-hin, Tsang Kin-Wah, Wong Wai Yin texts by Friedrich von Borries, Hartmut Esslinger, Thomas Geisler, Barry M. Katz, Sonia Laszlo, Jeremy Myerson, Hans Prihoda, Katarina V. Posch, Katja Schechtner, Caroline Seifert, Christoph Thun-Hohenstein artists include: Alexander Wolff, Alexandra Bircken, Cyprien Gaillard, Helen Verhoeven, Jorinde Voigt, Julia Schmidt, Kathrin Sonntag, Keller/Kosmas (Aids-3D), Keren Cytter, Kitty Kraus, Klara Lidén, Matti Braun, Max Frisinger, Michael Pfrommer, Michael Riedel, Natalie Czech, Nina Canell, Nina Rhode, Olaf Holzapfel, Omer Fast, Rosa Barba, Sâdane $¿I6LPRQ)XMLZDUD6XVDQQH0:LQWHUOLQJ Suse Weber, Sven Johne, Ulf Aminde, Ulla von Brandenburg 'H¿QLQJ&ROODJHLQWKH Twenty-First Century texts by Connie Lam, Anthony Yung, Pauline J. Yao, Philip Tinari, Kito Nedo edited by Christoph Noe, Cordelia Noe Hong Kong ArtistsLVWKH¿UVW international publication dedicated to the emerging generation of artists born between the late 1970s and the mid 1980s, and introduces 20 artists working in a variety of media from pencil drawing to public performance, from painting to computer-animated video work. Featured artists include Nadim Abbas, Ho Sin Tung, Lam Tung-pang, Tsang Kin-Wah, Wong Wai Yin and Adrian Wong. A series of introductory essays on identity, culture, urbanism, economy and artistic traditions provides the context for the work and ideas of this group of artists. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843223 softback 224 pages illustrated in colour 265 x 215 mm ‘The goal of MADE 4 YOU is to demonstrate and communicate design as a strategic and holistic way RI¿QGLQJDQGFUHDWLQJVXVWDLQDEOH and successful solutions and experiences, and to convey at the same time that design as a cross- disciplinary profession requires a new level of public and private commitment, from education to politics and the economy. We also ZDQWWRHQFRXUDJHSHRSOH±¿UVW and foremost creative talents – to become a part of this already global movement: Design for Change’ (Hartmut Esslinger, founder of frog design). This catalogue interrogates new tendencies and strategic approaches that work for positive change in the face of the big challenges confronting us. Numerous cutting-edge product design teams are featured including Apple, BMW Group DesignworksUSA, Ford, Philips Design, Porsche Design, and Sennheiser Siemens. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843469 softback 240 pages illustrated in colour and b&w 300 x 215 mm (QJOLVKDQG*HUPDQWH[W 44 texts by Susanne Figner, Martin Germann, Antonia Lotz, Kathrin Meyer, Carina Plath, Gabriele Sand, Kristin Schrader, Ute Stuffer, René Zechlin Made in Germany Zwei: Internationale Kunst In Deutschland is a collaborative project in 2012 between three major art institutions in the city of Hanover: the Kunstverein, the Sprengel Museum, and the kestnergesellschaft. This exhibition format is conceived as a kind of ‘antipode’ to the documenta and showcases 44 positions. The diverse and impressive works are presented by way of numerous depictions and concise descriptions. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843346 softback 272 pages 378 colour, 15 b&w illustrations 270 x 210 mm (QJOLVKDQG*HUPDQWH[W artists: Birgit Brenner, Ceal Floyer, Dash Snow, Douglas Kolk, Ellen Gallagher, Epaminonda, Frank Stella, Gert and Uwe Tobias, Gregor Hildebrandt, Hannah Hoch, Jon Kessler, Jörg Herold, Kurt Schwitters, Martha Rosler, Meg Cranston, Oliver Laric, Raoul Hausmann, Raphael Danke, Tal R, Thomas Hirschhorn, Tobias Rehberger texts by Cornelius Borck, Ralf Burmeister, Thomas Koehler, Annelie Lütgens, Henning Ritter, Martha Rosler, Christiane zu Salm, Peter Stohler, Heidy Zimmermann edited by Christiane zu Salm In contemporary art, the collage technique has been experiencing DUHQDLVVDQFHZLWKDUWLVWV¿QGLQJ new ways to use collage;; they might adopt the classical approach – glueing, overpainting and alienating existing images – but they also draw on new, computer-aided media. This publication and the accompanying symposium and exhibition at the Belinische Galerie (23 May – 17 September 2012) drew on the gallery’s inventory and Christiane zu Salm’s About Change, Collection which concentrates on artists – and their work – who consistently or selectively employ the collage principle. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843407 hardback 232 pages illustrated in colour and b&w 275 x 235 mm (QJOLVKDQG*HUPDQWH[W Der Nackte Mann / The Naked Man Arnulf Rainer artists: Andy Warhol, David Hockney, Edvard Munch, Egon Schiele, Eric Fischl, Gelatin, Gilbert & George, Keith Haring, Maria Lassnig, Matthew Barney, Oskar Kokoschka, Robert Mapplethorpe, Ron Mueck texts by Helmut Friedel, Arnulf Rainer texts by Sabine Fellner, Elisabeth Nowak- Thaller, Stella Rollig, Barnabás Bencsik, Peter Weiermair, Paula Diehl, Christina von Braun, Hedvig Turai, Katalin Simon The Naked Man features numerous examples of works featuring the male nude, spanning the period from Classical Modernism to the present day. The overview of the tradition of the artistic subject in the twentieth century shows the impressive spectrum of artistic work devoted to the naked man. Initially only relevant as a subject in a mythological context, artists start experimenting openly with the male self-nude around 1900: the unclothed male body goes through identity crises and phases of sovereignty as well as attempts to deconstruct traditional depictions of masculinity. Published to accompany the exhibition at Lentos Kunstmuseum Linz and Ludwig Muzeum, Budapest in 2012–13. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843575 hardback 320 pages illustrated in colour 270 x 210 mm (QJOLVKDQG*HUPDQWH[W Rainer Kosmos Selected works from four decades present Arnulf Rainer’s cosmos in a far more complex, colourful and abundant way than the restriction to the position of the ‘overpainter’ suggests. Among other things, the exhibition includes Arnulf Rainer‘s early Abstractions from the 1960s, which allow for an analysis of picture format and colour application. Large- format ‘overpaintings’ from the late 1950s to the early 1970s show the brushwork alternating between contemplation and expression, and exemplify the processual painterly development. The selection ranges from the subsequent expressively SRZHUIXO¿QJHUSDLQWLQJVWRWKH earthy Geologica paintings, and the delicately coloured ‘veil paintings’ from the 1990s. In addition, rare videos from Rainer’s performative work of the 1970s can be seen again. Published to accompany the exhibition at Arnulf Rainer Museum Baden, May – October 2012. 9HUODJIUPRGHUQH.XQVW1UQEHUJ ISBN 9783869843360 hardback 160 pages illustrated in colour and b&w 295 x 245 mm (QJOLVKDQG*HUPDQWH[W 45 AUTUMN 2012 The New Art Gallery Walsall distributed by Cornerhouse world-wide New Contemporaries (1988) Ltd distributed by Cornerhouse world-wide Parasol unit distributed by Cornerhouse world-wide Eric Bainbridge Bloomberg New Contemporaries 2012 Bharti Kher Collages WH[WVE\6WHSKHQ6QRGG\-RQDWKDQ*ULI¿Q Made during time spent in the North East of England, Bainbridge’s collages have a North Eastern precedent in Richard Hamilton who, 40 years earlier made his pop collages in Newcastle, and 20 years before Hamilton – Kurt Schwitters who ‘merzed’ his ephemera, the result of which was a sequence of proto-pop art pictures. Through ‘cut and paste’, the old way of doing, Bainbridge creates new relationships between images that have been abstracted and detached from their original source and context of brand and commercial message. These collages are glistening and playful, even risqué (can images be risqué these days?!). A surface fetish is present: skin glows, hair shines and eyes glisten, colour is sumptuous. 7KHUHLVDSXVKSXOORIUHSXOVLRQDQG attraction, Bainbridge has looked too carefully at the pages of fashion and lifestyle magazines. Published on the occasion of the exhibition, Eric Bainbridge: Supercollage at The New Art Gallery Walsall, 4 May – 21 July 2012. 1HZ$UW*DOOHU\:DOVDOO ISBN 9781907363016 hardback 160 pages 134 colour illustrations 285 x 210 mm artists: Anita Delaney, Bryan Dooley, Emanuel Röhss, Evariste Maiga, Freya Douglas-Morris, George Eksts, George Little, Jack Brindley, Jackson Sprague, Jamie Buckley, Jan May, Jennifer Bailey, Jennifer Phelan, Lauren Godfrey, Max Ruf, Natalie Finnemore, Nicola Frimpong, Nicole Morris, Oliver Osborne, Piotr Krzymowski, Polly Read, Salome Ghazanfari, Samuel Taylor, Sarah Jones, Simon Senn, Suki Seokyeong Kang, Tara Langford, Tony Law, Tyra Tingleff texts by Cullinan Richards, Nairy Baghramian, Rosalind Nashashibi edited by Eileen Daly, Rebecca Heald This exhibition catalogue is published alongside the annual show that features the work of 29 artists. New Contemporaries has a long and illustrious history. Established in 1949, this annual show has been GHGLFDWHGWRSUR¿OLQJWKHZRUNRI young, new and emerging artists at the start of their professional careers. The selectors this year were: Cullinan Richards, Nairy Baghramian, and Rosalind Nashashibi. This publication accompanies the exhibition New Contemporaries at LJMU Copperas Hill Building, Liverpool Biennial, 15 September – 18 November 2012 and ICA, London, 27 November 2012 – 13 January 2013. 1HZ&RQWHPSRUDULHV/WG ISBN 9780956613325 hardback 120 pages 80 colour illustrations 165 x 135 mm texts by Ziba Ardalan, Gayatri Sinha, Tom Morton, Aveek Sen edited by Ziba Ardalan Born in the UK, Bharti Kher relocated to India, the country of her parents in 1993 where she continues to live and work. Now one of India’s best- known contemporary artists, Kher’s art juxtaposes opposites – modernity clashes with tradition, East contrasts with West, the personal and global are divergent. Incorporating bindi painting, sculpture and installation, each with a strong sense of narrative, Kher draws her heterogeneous practice into a unique and compelling mythology. This comprehensive monograph explores Bharti Kher’s multidisciplinary practice, and features essays by Parasol unit 'LUHFWRU&XUDWRU=LED$UGDODQDUW critic and curator Gayatri Sinha, and Tom Morton, curator, writer and contributing editor for frieze, alongside an interview with the artist by curator and writer Aveek Sen. Published on the occasion of Bharti Kher’s solo exhibition at the Parasol unit, London, 14 September – 11 November 2012. 3DUDVROXQLW ISBN 9780956024763 hardback 180 pages illustrated in colour 275 x 205 mm Jannis Kounellis Navid Nuur text and edited by Ziba Ardalan PHANTOM FUEL This publication accompanies Parasol unit’s solo exhibition of Arte Povera protagonist Jannis Kounellis (28 November 2012 – 24 February 2013), one of the world’s leading contemporary artists with a career spanning more than 40 years. Born in the Greek port of Piraeus in 1936, Kounellis has lived in Rome since 1956. His work has developed as a mixture of painting, collages and the staging of installations, ‘environments’, performances and theatrical shows, through which Kounellis expresses the tensions and alienation of contemporary society, and with the multiplicity, obscurity and fragmentation of its language. Jannis Kounellis’ exhibition at Parasol unit will mark a key period in his career, demonstrating the breadth of the artist’s practice to date. Selected early bodies of work created in 1960s and 1970s will be shown in dialogue with new works, produced by the artist for the exhibition as a response to the older works on display. Essays by Ziba Ardalan and invited writers will provide an insight into Kounellis’ artwork. 3DUDVROXQLWWEF ISBN 9780956024770 hardback pages tbc illustrated in colour dimensions tbc 1RYHPEHU Untitled, 1977 Three parts: steel spiral around a pier with an electric train, window partially blocked with steel, and incision in the wall. Dimensions variable. Kounellis Studio. text and edited by Ziba Ardalan To accompany his solo exhibition at Parasol unit, London, in March 2013, Navid Nuur will produce an artist’s book offering readers a very private view into the intricacies of his artistic practice. Iranian born artist Navid Nuur’s process-based works question the connections between idea and form. Utilising a range of media, including drawing, text and installation, Nuur’s practice examines how the art object might extend beyond the physical and temporal conventions of an exhibition, and into the minds of viewers. Following in the great twentieth century tradition of the artist’s book, the publication will be based on Nuur’s sketchbooks, and documents his ZRUNLQJVRYHUD¿YH\HDUSHULRG Incorporating preparatory sketches, notes, drawings and exhibition plans, alongside texts and colour images of works in an energetic collage, the book will provide a fascinating insight into Nuur’s complex conceptual practice. 3DUDVROXQLWWEF ISBN 9780956024787 hardback tbc 192 pages tbc illustrated in colour 250 x 190 mm 0DUFK Navid Nuur, Layout design for Publication. &RXUWHV\WKHDUWLVW3ODQ%&OXM%HUOLQDQG0DUWLQ Zomeren, Amsterdam Picture This distributed by Cornerhouse world-wide The Sensible Stage Staging and the Moving Image artists: Anja Kirschner & David Panos, Annabel Frearson, Annabel Nicolson, Cara Tolmie, Carolee Schneemann, Charlotte Moth, Clare Gasson, Gail Pickering, Jimmy Robert, Marc Camille Chaimowicz, Marcelline Delbecq, Marguerite Duras, Public Movement, Tom Nicholson, Yael Davids texts by Alain Badiou & Elie During, Bridget Crone, Vanessa Desclaux, Anne-Sophie Dinant, Beatrice Gibson, Pil and Galia Kollectiv, Isla Leaver-Yap, Lisa Panting, Dominic Andrew Paterson, Lucy Reynolds, Ian White edited by Bridget Crone The Sensible Stage is a collection of newly commissioned discursive, theoretical and creative texts that explore the moving image in relation to performance, time and the event. It provides a series of individual proposals and speculations on the intersections of what might be termed ‘live-ness’ in moving image and performance art practices today. Unfolding around the concept of ‘staging’, this book discusses the use of performance and theatre strategies in contemporary art as a means to question the boundaries of stage and screen. 3LFWXUH7KLV ISBN 9780955496127 softback 168 pages 25 colour, 10 b&w illustrations 235 x 165 mm Jennifer Phelan, Squirrel, 2011 46 47 AUTUMN 2012 Rakennustieto Publishing distributed by Cornerhouse in the UK and Eastern Europe Research Group for Artists Publications distributed by Cornerhouse world-wide Richter & Fey Verlag distributed by Cornerhouse in the UK Encounters Volume 2 Drawing – in and outside – Writing Erich Reusch artists: Ans Nys, Kelly Chorpening, Peter Morrens, Rebecca Fortnum text by Karen van den Berg Architectural Essays text by Juhani Pallasmaa edited by Peter MacKeith The essays comprising this new volume by Finnish architect, educator and critic Juhani Pallasmaa are drawn from an intensive decade of teaching, lecturing and writing in the new millennium. New intellectual territories are explored, focusing on concepts of ‘vagueness’ and ‘atmosphere’. Importantly, a series of artistic and architectural ‘portraits’ are nested inside the thematic structure and amongst the more abstract FRQWHPSODWLRQV7KHVHVSHFL¿F critical commentaries and personal appreciations have a prominent place in the author’s repertoire. Portraits are drawn of prominent Finnish artists such as Kain Tapper, Juhana Blomstedt, Maaria Wirkkala, Jorma Hautala, and Raimo Utriainen and notable Finnish architects such as Alvar Aalto, Reima Pietilä, and the partnership of Mikko Heikkinen and Markku Komonen. These are all leavened by further commentaries on Steven Holl, Fred Sandback, and Rachel Whiteread – and the great Finnish designer Tapio Wirkkala as well as the award-winning )LQQLVK¿OPGLUHFWRU$NL.DXULVPlNL 5DNHQQXVWLHWR3XEOLVKLQJ ISBN 9789522670205 softback 336 pages 500 colour illustrations 250 x 190 mm 48 In the Greek word graphein, drawing and writing share an etymological root. This closeness can be seen in medieval manuscripts or, more prosaically, in the early scrawls of children where there is little distinction between drawing and writing. From a phenomenological perspective writing and drawing are also closely related. Although they are considered discrete disciplines, with different modes of comprehension and interpretation, for the maker there can be a similarity of process. Writing retains the potential to slide into drawing, drawn lines can easily become letters. Drawing – in and outside – Writing investigates the slippage between these two acts. Individually and together, over a year, four visual artists, Peter Morrens, Kelly Chorpening, Ans Nys and Rebecca Fortnum have developed an interactive project to explore the visual relationship between writing and drawing, and this book is the result of their speculations. Published by RGAP in collaboration with Sint- Lucas Visual Arts Ghent. 5HVHDUFK*URXSIRU$UWLVWV3XEOLFDWLRQV ISBN 9780956902436 softback 168 pages illustrated in colour 240 x 170 mm It is the Space The architect and sculptor Erich Reusch is among the artists who, after World War II, fundamentally contributed to a new understanding of sculpture. In the 1950s he worked as a freelance architect, but from 1964 he devoted himself increasingly to sculpture. Reusch became known at the end of the 1960s for his Elektrostatischen Objekte, i.e., Plexiglas cases to which, according to the climate and outside friction, gas soot pigments arbitrarily stuck, leaving painterly traces behind. As with his environments, as well as his sound and air works, the issue for him is a decisive expansion of our experience of the space around us. While the laser and ultrasonic tracks, 1969, let space become sensually perceptible as a force ¿HOGSHUYDGHGE\RSWLFDOPDJQHWLF and acoustic waves, the most recent wall applications – colourful painting fragments – charge the room considerably with weight and tension. 5LFKWHU)H\9HUODJ ISBN 9783941263444 hardback 84 pages 39 colour, 21 duotone illustrations 248 x 305 mm (QJOLVKDQG*HUPDQWH[W Fred Sandback Thomas Schütte Thomas Schütte Drawings 1968–2000 Frauen One Man Houses text by Gianfranco Verna texts by Andrea Bellini, Dieter Schwarz texts by Andrea Bellini, Dieter Schwarz Fred Sandback’s minimal drawings are concerned with the ambivalence of the line;; a line can portray something or it can merely be the line itself, representing or presenting, generating illusions or doing away with them. Sandback developed a way of working which dispensed with the mass and weight of materials, ultimately using acrylic yarn, sometimes multi-coloured, that stretched across architectural space. He made sculptures whose factual existence plays against the perceptual illusions they create, addressing physical surroundings as well as the audience in what he called the ‘pedestrian space’. This title accompanies the exhibition Fred Sandback: Drawings 1968–2000 at Annemarie Verna Gallery, Zürich, Switzerland, 2005. Thomas Schütte is one of the most singular of present-day artists, who ventures to deploy techniques, genres and themes long thought passé, such as the sculpturally IRUPHGIHPDOH¿JXUHLQSHUPDQHQW materials like bronze, aluminium and steel. Preceded by small ceramic ¿JXUHVWKHIHPDOHVFXOSWXUHVFDPH about at the end of the 1990s and show the gamut of his experimental SUD[LV7KH¿UVWUHFOLQLQJIHPDOH nudes can still be assigned to the HQWRXUDJHRIFODVVLFLVW¿JXUHVIURP the early twentieth century and recall Maillol’s weighty nudes. In contrast, the following monumental Frauen with sawn-off limbs, distortions, ERGLHVVWHDPUROOHGÀDWLQWDQWDOLVLQJ poses – ruthlessly exposed on steel work tables – resist any attempt to categorise their style into the canon RIRI¿FLDODUWKLVWRU\7KHVHVWLOOKDYH WKHLUMXVWL¿FDWLRQ6FKWWHVD\V‘now that there’s no longer the stress of having to start a revolution at every and any occasion’. 7KRPDV6FKWWH¶V¿UVWVFDOHPRGHOV in the 1980s presented rooms to live and work. While the atelier houses UHÀHFWWKHDUWLVW¶VRZQDFWLYLW\WKH symbolic forms for bunkers, which reveal Schütte’s sceptical view of things and his black humour, offer security and a place of retreat. Twenty years later, Schütte once again took up imaginary model architecture with light pavilions made out of wood and leftovers from his atelier, commercial buildings like petrol stations or car parks, as well as concert halls and event ORFDWLRQV:KLOHWKH¿UVWPRGHOV UHPDLQURRWHGLQD¿FWLRQDOZRUOG the models of the One Man Houses from 2003 on were converted into reality. In 2007 he built a house for two French collectors, and in 2009 – following the Ferienhaus für Terroristen – a pavilion-like house with glass walls as a possible design for new architecture as well as an oppositional praxis in our society. This publication provides a comprehensive survey of the DUFKLWHFWXUDOPRGHOVIURPWKH¿UVW years to today’s design projects. 5LFKWHU)H\9HUODJ ISBN 9783937572338 softback 32 pages 26 colour illustrations 260 x 210 mm (QJOLVKDQG*HUPDQWH[W 5LFKWHU)H\9HUODJ ISBN 9783941263420 hardback 160 pages 195 colour illustrations 300 x 200 mm English and French text 5LFKWHU)H\9HUODJ ISBN 9783941263482 hardback 160 pages 150 colour illustrations 300 x 200 mm English and French text 49 AUTUMN 2012 Qiu Shihua text by Silke von Berswordt-Wallrabe edited by Britta E. Buhlmann, Udo Kittelmann The Chinese painter Qiu Shihua in his light, cloudy-white painted landscapes, invokes apparently untouched nature in which only indications of paths, rivers or trees and structures of space such as the silhouettes of a chain of hills become painstakingly visible. Elements of traditional Eastern landscape painting, such as the strong reduction in colour and in precise details, are combined with the early abstraction of western modernist movements. Landscape no longer serves to represent real situations or the rational exploration of an illusionist picture plane, but becomes an occasion for a painterly treatment. 7KHXQGH¿QHGRSHQQHVVRIWKHPRWLI and of spaciousness, the interplay between full and empty, brings any orientation towards recognisability to naught. The experience of placelessness unsettles one’s own perceptibility, while simultaneously the sense of sinking into an imaginary landscape becomes possible. 5LFKWHU)H\9HUODJ ISBN 9783941263406 hardback 180 pages 76 colour illustrations 273 x 298 mm (QJOLVKDQG*HUPDQWH[W Ridinghouse distributed by Cornerhouse in the UK and Europe Mel Bochner texts by Achim Borchardt-Hume, João Fernandes, Ulrich Wilmes, Briony Fer 2QHRIWKHIRXQGLQJ¿JXUHVRI Conceptual art, and one of its most astute critics, Mel Bochner combines colour and language in his work. This title is published on the occasion RIKLV¿UVWPDMRU(XURSHDQVXUYH\ which focuses on the artist’s new work in relationship to that from the 1960s and 1970s.This monograph focuses on the role of colour, the purity of thought and visual pleasure in Bochner’s most recent work, such as his series of paintings in which he used a thesaurus to generate humorous word chains. Achim Borchardt-Hume discusses the role of colour in Bochner’s latest work, Ulrich Wilmes looks at new paintings in relation to past work, João Fernandes explores language and Briony Fer considers notions of corruption in Bochner’s work. Published by Ridinghouse in association with Whitechapel Gallery, London, Haus der Kunst, Munich, and Museu de Arte Contemporânea de Serralves, Porto, on the occasion of the exhibition Mel Bochner at Whitechapel Gallery, London, 12 October – 30 December 2012. Rose Finn-Kelcey Anya Gallaccio Evan Holloway Fiona Rae texts by Guy Brett, Sarah Kent, Michael Stanley texts by Jan van Adrichem, Norman Bryson, Briony Fer, Lucía Sanromán texts by Ralph Rugoff, Liz Kotz Maybe you can live on the moon in the next century Conceptual artist Rose Finn- Kelcey’s work is characterised by unpredictability and a diversity of approach and medium. The artist ¿UVWFDPHWRSURPLQHQFHLQWKH HDUO\VZLWKKHUVHULHVRIÀDJV which made reference to the wind and weather at the site on which WKH\ZHUHDI¿[HG,QWKHPLGV to mid-1980s, Finn-Kelcey turned to performance and from the late 1980s she began making installation-based work such as Bureau de Change (1987), a response to the sale of Van Gogh’s 6XQÀRZHUV Her recent work includes public commissions such as Angel (2004), an oversized emoticon message out of shimmer discs. In )LQQ.HOFH\¶V¿UVWFRPSUHKHQVLYH monograph, Guy Brett presents an overview of her work alongside over 70 colour images, while Sarah Kent and Michael Stanley each take an in GHSWKORRNDWDVSHFL¿FLQVWDOODWLRQV British installation artist Anya Gallaccio works largely with natural PDWHULDOV±RIWHQÀRZHUVWUHHV and sugar – to create installations ZKLFKDUHRIWHQVLWHVSHFL¿FDQG due to the organic materials used, centred on the idea of change and transformation. This monograph comprehensively catalogues the artist’s work over her career to date, featuring over 200 full colour images. New texts by Lucía Sanromán, who investigates the role of the landscape in Gallaccio’s work;; Norman Bryson who analyses the notion of ‘psychic fantasy’ in the installation blessed;; Briony Fer who discusses the artist’s use of natural light and earth;; and Jan van Adrichem who looks at Gallaccio’s move into bronze casts as well as a conversation between Clarrie Wallis and Gallaccio, accompany the work. Los Angeles based artist Evan Holloway makes idiosyncratic sculptures that turn matters of aesthetic taste and any appreciation of slick fabrication on their head. Subtle comments on modern sculpture’s weighty legacy are interwoven repeatedly with colours DQG¿JXUHVRIWHQDSSHDUWREH physically trapped within the works WKHPVHOYHV+LV¿UVWPRQRJUDSK showcases his extensive use of materials combined to produce a complex amalgamation of systems, colour spectrum charts and 3D diagrams of social structures with a nod to a primitive pleasure in people creating and engaging with man- made objects. With over 100 images and essays by Ralph Rugoff, Liz Kotz and an interview with the artist and Bruce Hainley, this publication offers an in-depth overview of this fascinating artist’s work. Ridinghouse £28.00 ISBN 9781905464609 hardback 256 pages 200 colour illustrations 294 x 245 mm Ridinghouse £24.95 ISBN 9781905464616 softback 192 pages 140 colour illustrations 286 x 245 mm Ridinghouse £19.95 ISBN 9781905464685 softback 180 pages tbc 70 colour illustrations tbc 257 x 210 mm texts by Sarah Brown, Gilda Williams A leading painter of her generation, Fiona Rae’s distinctive, energetic, humorous and complex works challenge and expand the modern conventions of painting. Participation in Damien Hirst’s 1988 Freeze, the Venice Biennale 1990 and the Turner Prize in 1991 brought her early renown. Solo exhibitions have been held at Kunsthalle Basel;; ICA, London and Carré d’Art – Musée d’art contemporain de Nîmes. This publication examines Rae’s paintings from the last decade when she began to explore, in painterly analogues, many of the new visual conventions familiar to a post-Photoshop generation, mixing graphic and cartoon imagery with abstract marks and spontaneous gestures to create an iconoclastic synthesis of painterly languages. Published to accompany the exhibition at Leeds Art Gallery, 11 May – 26 August 2012. 5LGLQJKRXVH/HHGV$UW*DOOHU\ ISBN 9781905464579 softback 64 pages 47 colour illustrations 290 x 245 mm Ridinghouse £24.95 ISBN 9781905464661 softback 224 pages 170 colour illustrations 286 x 245 mm 2FWREHU 50 51 AUTUMN 2012 INDEX TO NEW AND FORTHCOMING TITLES Allora & Calzadilla: Vieques Videos 2003–2010 Herzog & de Meuron + Ai Weiwei: Serpentine Gallery Pavilion 2012 33 42 Charline von Heyl: Now or Else 24 Jennifer Anyan: Embodied Memories 11 Thomas Hirschhorn: Video Anthology 1993–2010 15 Araam: Breathing Space 52 Candida Höfer: Haus Ludwig 43 Hans Arp: Ovi Bimba 12 Evan Holloway 51 Edward Arroyo 23 Karl Holmqvist: ‘K 15 Art and the City: A Public Art Project 13 Nancy Holt: Photoworks Amor Psyche Aktion – Wien: The Feminine in Viennese Actionism The Art of William S. Burroughs: Cut-ups Cut-ins, Cut-outs 43 Eric Bainbridge: Collages 46 Yael Bartana: And Europe Will Be Stunned The Polish Trilogy Bridget Riley Works 1960–1966 Bridget Riley: Works 1960–1966 features over 40 works from the beginning of the artist’s impressive career. These iconic black and white works – paintings, gouaches and prints – challenge the viewer’s sensations and form the foundation of Riley’s continued explorations of shape, movement and perception over the following four decades and continued today. Over 30 full-colour illustrations are presented alongside a selection of essays, including an interview with David Sylvester from 1967 that discusses the distinctive, optically vibrant works that Riley was making during this important period, and a conversation with Maurice de Sausmarez. This publication accompanies the two-part exhibition of the same name at Karsten Schubert, London, and Hazlitt Holland-Hibbert, London, 24 May – 13 July 2012. 5LGLQJKRXVH.DUVWHQ6FKXEHUW+D]OLWW+ROODQG +LEEHUW ISBN 9781905464586 softback 128 pages illustrated in colour and b&w 270 x 232 mm Shisha distributed by Cornerhouse world-wide Stour Valley Arts distributed by Cornerhouse world-wide Araam Science, Nature and Identity Breathing Space artists: Halima Cassell, Zarah Hussain edited by Fareda Khan, Pippa Kenyon-Leigh Araam: Breathing Space was a unique curatorial programme initiated by Shisha in partnership with Mid Pennine Arts. Building on cultural links between the North West of England and Pakistan, the project platformed the work of two exciting, contemporary artists Halima Cassell and Zarah Hussain through residencies in Pakistan and the UK, and a unique touring exhibition. Araam was conceived to enable ‘breathing space’ for both artists to research, develop new ideas and experiment with creative disciplines. Whilst Cassell and Hussain use very different artistic media, both are inspired by their ancestral heritage, DQG,VODPLFLQÀXHQFHVIURPSDWWHUQ and architecture resonate throughout their work. This richly illustrated publication charts Araam from its inception and development of project partnerships with contemporary art establishments in Pakistan, through to the subsequent artist residency SURJUDPPHDQG¿QDOO\WKHUHVXOWLQJ and much acclaimed exhibition and tour. Shisha £10.00 ISBN 9780956775511 softback 88 pages 76 colour illustrations 210 x 210 mm 52 40 Morton Bartlett: Secret Universe 3 1 28 Caroline Bergvall: Ghost Pieces Four language-based installations 12 Bloomberg New Contemporaries 2012 46 Mel Bochner 50 Iñaki Bonillas: J. R. Plaza Archive 13 Boyd & Evans: Views 10 Understanding the Value of Experiential Learning in a Land Art Context Yvette Brackmann: Systems and Scenarios 13 text by Lucy Medhurst This title aims to distil the research TXHVWLRQDQG¿QGLQJVIURPDQ eponymous paper submitted as an MA dissertation. The research sought to identify what educational outcomes emerge through the use of experiential learning in a Land Art context. The primary research material was drawn from two years of a Stour Valley Arts project called Down Time, funded through a national initiative Chances 4 Change broadly focused on wellbeing. The four participant groups came from a wide range of settings, allowing the research to look for common WKHPHVWKDWPLJKWGH¿QHWKHYDOXH of this approach and its possibilities for learning. Theory (including neuroscience and environmental psychology) and practice were examined including relevant examples from Galleries, Creative Partnerships and Forest Schools. The context of Stour Valley Arts is a 1500 acre forest which sites commissioned works of contemporary art and includes a strong environmental component. 6WRXU9DOOH\$UWV ISBN 9780955871948 softback 108 pages 21 colour illustrations 250 x 200 mm 7 Parachute: The Anthology (Vol.1) 19 John Pawson: Katalog 35 Simon Periton: Bombyx Mori 6 Slavica Perkovic: Vertigo 36 Raymond Pettibon: Whuytuyp 19 Clive Phillpot: Booktrek Selected Essays on Artists’ Books Since 1972 19 Francis Picabia 36 Hong Kong Artists: 20 Portraits 44 Pop Art: Europa / USA – From the Grosshaus Collection 36 Laura Horelli 33 William Pope.L: Black People are Cropped / Skin Set Drawings 1997–2011 20 Private Function: Art Photography in the GDR 1949–1989 27 Fiona Rae: Maybe you can live on the moon in the next century 51 Arnulf Rainer: Rainer Kosmos 45 Rashid Rana: Everything is Happening at Once 41 Erich Reusch: It is the Space 48 Erica Van Horn: échafaudage Roni Horn: Selected Drawings 1984–2012 How to Use Fool’s Gold: Sarah Browne Humancraft: Contaminating Science With Art Gina Czarnecki A Hundred Seas Rising: Suki Chan 3 16 10 2 2 Wilma Hurskainen: Heiress 25 Image Counter Image 33 Institution for the Future 3 Kelly Richardson: Legion 1 Gerhard Richter: Beirut 37 In View: Photography from the Wemhöner Collection 25 Gerhard Richter: Drawings and Watercolours 1957–2008 37 Pierre Joseph 16 Bridget Riley: Works 1960–1966 52 Pamela Rosenkranz: No Core 20 Daniel Buren: Excentrique(s), Momumenta 2012 Esquisses Graphiques 29 Ilya Kabakov: Collage of Spaces 25 William S. Burroughs: CUT 29 Stanya Kahn: It’s Cool, I’m Good 4 Ed Ruscha: Reading Ed Ruscha 37 The Circus as a Parallel Universe 43 William Kentridge: Prints 8 Fred Sandback: Drawings 1968–2000 49 Jan De Cock: A Romantic Exhibition 30 Károly Keserü: Papertiger 2009–2012 7 Cornelia Schleime: The colour, the body, the face, the eyes 28 Come On In My Kitchen: The Robert Johnson Book 14 Bharti Kher 46 Thomas Schütte: Frauen 49 Shezad Dawood: Piercing Brightness 29 Ragnar Kjartansson: Works Related to Music 2012–2001 16 Thomas Schütte: One Man Houses 49 Richard Deacon: Association 40 Jannis Kounellis 47 Thomas Schütte: Public/Political 38 Thomas Demand: Executive 30 =R¿D.XOLN3U]HP\VODZ.ZLHN.ZLH.XOLN 8 Science, Nature and Identity: Understanding the Value of Experiential Learning in a Land Art Context 52 47 Dicky Star and the Garden Rule: Tony White 6 Light Do or DIY 11 Sarah Lucas: Ordinary Things 9 The Sensible Stage: Staging and the Moving Image Drawing – in and outside – Writing 48 Ant Macari 1 Sgrafo vs Fat Lava 20 Beatrice Dreux: palestine, mothers and skies 23 MADE 4 YOU: Design for Change 44 Esther Shalev-Gerz 21 Jimmie Durham: A Matter of Life and Death and Singing 14 Made In Germany Zwei: International Art in Germany 44 Qiu Shihua 50 Christian Eisenberger: Reserve – help me kill me 23 David Maljkovic: Sources in the Air 17 Jamie Shovlin: Various Arrangements 8 Encounters Volume 2: Architectural Essays 48 0DQLIHVWR&ROODJH'H¿QLQJ&ROODJHLQWKH7ZHQW\)LUVW&HQWXU\ The Song of Machines: Yu-Chen Wang 3 Explosion! Painting as Action 30 Fabian Marcaccio: Some USA Stories 26 Hans-Peter Feldmann: Catalogue 31 -DVRQ0DUWLQ,Q¿QLWLYH Daniel Spoerri: in the Natural History Museum – an Incompetent Dialogue? 28 Rose Finn-Kelcey 50 Anthony McCall: Five Minutes of Pure Sculpture 34 Nick Stewart – WHICH IS THE: 49 Views 12 The First Cut 41 Paul McCarthy & Damon McCarthy: Caribbean Pirates 13 Video Projections Imogen Stidworthy: (.) 42 34 Stroll 21 Dieter Meier: Works 1968–2012 and the Yello Years 34 Sturtevant: Image over Image 21 John Myers: Middle England 10 Larry Sultan and Mike Mandel 38 Der Nackte Mann / The Naked Man 45 Swandown Jens Nagels: Floating 26 New Relations in Art & Society 17 Urs Fischer: Madame Fisscher 31 Nina Fischer / Maroan el Sani: Spelling Dystopia 14 Morgan Fisher: Two Exhibitions 31 FLUXUS AT 50 Forget Fear: 7th Berlin Biennale for Contemporary Art The FutureEverything Manual (2011) 24 32 7 David Noonan The Future Will Be... China: Thoughts on What’s to Come: Curated by Hans Ulrich Obrist 32 Cyprien Gaillard: The Recovery of Discovery 32 Anya Gallaccio 51 Dan Graham: Not Yet Realised – Pavilion Drawings 40 Great Lengths 2012: An Artist Residency on the Olympic Park Joana Hadjithomas & Khalil Joreige Anthea Hamilton: Sorry I’m Late Nigel Henderson & Eduardo Paolozzi: Hammer Prints Limited 1954–74 Anton Henning: Chapardages, style & volupté 4 15 18 Wolfgang Tillmans: FESPA Digital / Fruit Logistica 39 Ante Timmermans 22 7RZQ*RZQ&RQÀLFW 42 26 Alison Turnbull: Sea the Stars Navid Nuur: PHANTOM FUEL 47 Obsessions: R.B. Kitaj (1932–2007) 27 The Universal Addressability of Dumb Things: Mark Leckey Curates Paulina Olowska 18 Roman Ondak. Observations 35 Yoko Ono: TO THE LIGHT 35 Luigi Ontani: CoacerVolubilEllittico 18 6 THE OPÉRA: Annual Magazine for Classic & Contemporary Nude Photography Volume I 24 38 Nothing – and Everything: The De-Stijl Artist Friedrich Vordemberge-Gildewart 5 Other Spaces: Jo Longhurst Utopia Gesamtkunstwerk Venice Takeaway: Ideas to Change British Architecture Stuart Whipps: Why Contribute to the Spread of Ugliness? Bedwyr Williams: My Bad Wonder Chamber: Karen Ingham 27 5 4 Tal R: Man Over Board 9 39 2 11 9 5 YOU KILLED ME FIRST: The Cinema of Transgression 39 Igor Zabel: Contemporary Art Theory 22 Cornerhouse Publications 70 Oxford Street Manchester M1 5NH England tel +44 (0)161 200 1503 fax +44 (0)161 200 1504 publications@cornerhouse.org ZZZFRUQHUKRXVHRUJERRNV Contemporary Visual Arts and Photography Distribution and Publishing

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