BOM DIA BOA TARDE BOA NOITE UG (haftungsbeschrankt) – förlag

The publication Object Notes: Just a Little Rest is an extension to the exhibition ‘Etwas mehr als Arbeit’, presented at Kunstverein Göttingen from October 11 – December 13 2020. In the exhibition ‘Etwas mehr als Arbeit’ the research project Object Notes by Malte Roloff and Santiago da Silva in collaboration with the curator Tomke Braun presents constellations of objects, materials, processes and documents from art and design, art production, and restoration. The project explores the idea of manufacture as an entry point to the question of who, how and under which conditions contemporary art is produced. It examines the use and significance of craftsmanship and labour in contemporary art and how the knowledge about its production affects its perception. The publication presents different contributions by the participants of the project. The formats range from loose page inserts, literary fiction and a conversation, to an especially commissioned essay by British design historian Tanya Harrod. With contributions by Armando Andrade Tudela, Carolin Bohlmann, Marte Eknæs, Viola Eickmeier, Kasia Fudakowski, Kaufhaus des Ostens, Valentina Jager, Rasmus Søndergaard Johannsen, Philipp Modersohn, Ana Navas, Anna M. Szaflarski, Tanya Harrod, Tomke Braun, Malte Roloff, Santiago da Silva.

The word amarantus, which gives name to this publication, comes from the Greek aμάρανθος, and describes a flower that never wilts. This plant is still used to prepare ixiptlahuan, which are anthropomorphic and zoomorphic figures that are ritually consumed by some indigenous peoples in Mexico. The amaranth flower represents the persistence of the “uncomfortable objects” that Castillo Deball makes visible in her historical itineraries and approximations, and that keep speaking to us in the present.Ever since her early works, the artist has explored how chance — a product of the passing of time, erosion, fragmentation, and human intervention, among other factors — determines, to a large extent, the way we learn about the world and the narratives we create. This interest has led her to investigate the history of certain artifacts and their vicissitudes, reproductions, appropriations, and disappearances. Her formal strategies tend to reflect an inclination toward methodologies used by archaeologists to “trap” their findings. The resulting objects, or substitute images, conceptually approach the ancient Nahua notion of ixiptla, which can be interpreted as representation, image, and substitute, but also as skin. This concept is indispensable for approaching many of Castillo Deball’s projects from the past decade.This publication features some of the artist’s long-term collaborators and interlocutors, including: Tatiana Falcón, with whom she made The Painter’s Garden; the organization Cooperación Comunitaria for The Double Life of the Azoyú Codex; Diana Magaloni around the term ixiptla and In Tilli in Tlapalli; Hubert Matiúwàa, through poems from his book Skin People; Barbara Mundy on cartography and the artist’s floor pieces; Jennifer Reynolds-Kaye on Alfred Maudslay; and Catalina Lozano about the history of women who have practiced archaeology in Mexico. The publication also includes the essay A Dystopic Mesoamerica by Yásnaya Elena and an excerpt of Emiliano Monge’s novel Weaving Darkness.

Who owns the past? Are museum archives and their re-collections of cultural heritage a cult of the dead — and if so, are we living in a necropolis? This book on photography, cemeteries, and the archive evolved out of an experimental research project at the Bibliotheca Hertziana in Rome, with its immense collection of canonic photographs from the history of art and architecture. An artist’s book, it takes on the form of a description of an unfinished film in five acts — a cinematic fragment, so to speak: DOPOSTORIA. The title essay by Christoph Keller is complemented by two contributions on burial cultures in prehistory and in modernity from the archaeologist Maria Clara Martinelli and the modern historian Carolin Kosuch. A sequence of collages at the back of the book conjures up a phantasmagorical journey through an ancient-modern Rome.

The artist book Sand is Water You Can walk On by Katharina Schilling brings together the series of paintings ofthe same name with texts by the authors Eva Hegge, Miriam Stoney, and Sophia Eisenhut. In her series ofworks, Schilling refers to Gothic illuminations, an early form of painting that tells of a time before the concept of the subject.The engagement of (art) historical themes from an anti-subjective, utopian -speculative perspective informs Schilling’s work. The three authors touch on themes from Schilling’s paintings and write texts that diverge inform and content.With her story, Eva Hegge submerges us in a dreamy, nerdy narrative. Miriam Stoney delvesinto mathematical, lyrical deconstruction and Sophia Eisenhut swirls the most diverse strands into a medievalpop melange.The three texts stand alongside the paintings on an equal footingand forge new connections not only with the paintings but also with each other. Intertextual references to feminist literature, medieval poetry and political as well as geometric theory emerge.While the artistic exchange between the authors and Schilling is obvious, the publication deliberately leavesunclear whether the texts refer to the paintings or vice versa. If you follow the pictures, the three voices speakto you again and again; if you follow the texts, your gaze is drawn back to the pictures.The open principle ofthe publication moves incessantly between the different subject areas and creates a lyrical form that opens upmore gaps than it closes.

The publication documents and expands the group exhibition IN NOBODY’S SERVICE, curated by Sarnt Utamachote in collaboration with un.thai.tled collective as part of the POLY program at Galerie Wedding–Space for Contemporary Art, in Berlin, in 2024. By providing nuanced research and context to the works of the participating artists, the book creates a critical space to archive the exhibition and event program as part of diasporic artistic practice in Berlin and beyond. It addresses historical entanglements, transnational histories of migration and the relationships between the artists and communities surrounding them. Commissioned writers (Lola Abrera, Estelle Araya, Sorayut Aiemueayut, Rosa Castillo and Philipp Lange) contribute essays thinking with and about the individual artistic positions.Migration histories from Thailand and Philippines to the West have been shaped by US-American influences and colonization in the region. West Germany’s interests in tourism and developing labor exchanges—of sex, care and the reproductive industry, gave birth to the marriage agencies in Berlin linking husband and wife together, cheap maid agencies across developing countries, the brothels and massage salons in Frankfurt am Main and Hamburg. Here, bodies have been rendered to mere “providers”. Such oppressive spaces can be subverted into places of care, comfort, and knowledge. The phrase ที่นี่ไม่เปิดให้บริการ is a play on language, meaning either “this place is not open for service” or, literally, “for nobody’s service.”The artistic and scholarly research projects presented in this publication depart from the extremely violent, cliché images that are often projected onto Thai and Filipina women’s and queer bodies. IN NOBODY’S SERVICE is a refusal to perform within the bounds of these constructs and an attempt to reclaim complexity and fluidity of being. This publication brings the Thai collective un.thai.tled together with Filipino diasporic artists, and, in doing so, allows the past, entangled with the present, to serve as material for artistic collaboration. Notes from conversations, archival material, poetry and songs in Thai, Tagalog, German, and English resonate throughout this book. Following a collective, interdisciplinary, and research-based approach, this publication blends artistic with documentary practices to offer a space of reflection. Strategies of self-organization that have been developed in artistic, migrant, and activist spaces serve as tools for resistance, empowerment, and collective action.

Über Brücken Bridging is published on the occasion of the performance and exhibition project of the same name in public space, curated by Lisa Klosterkötter and Elena Malzew, which took place between September 2022 and September 2024. The project spanned three long summers, presenting artistic interventions, performances, readings, sound pieces, temporary exhibitions, and installations on and around the seven Rhine bridges in Cologne. Cologne’s bridges are historical symbols of urban transformation and key structural elements of the city. They link districts undergoing different forms of social change and connect the inner-city west with the east at seven points across the Rhine. Around them condense social, cultural-historical, and socioeconomic narratives that relate to migration and labor, to urban history and its gaps, to environmental issues, and to public space and its ongoing privatization. Bridges are not only architectural passages but also material expressions of social orders. The majority of the artistic works presented during Über Brücken – Bridging were site-specific productions that, to varying degrees, engaged with the individual bridges, their role in contemporary and historical urban life, or their architecture, materiality, and corporeality.The publication Über Brücken Bridging is intended as a counterweight to the ephemeral nature of the performance and exhibition project. It also extends the exploration of questions that emerged during the work around bridges and opens up new chapters, such as the disappearance of the public sphere and artistic interventions that foster community (Martin Karcher); visibility and commemoration in public space (Son Lewandowski); ownership of memory and collective trauma that is made invisible (Ani Menua); colonial traces in Cologne’s public space (Marianne Bechhaus-Gers); public space as a publishing platform (Laura Martens); a gastro guide to the surroundings of the bridges (Julius Vapiano); a ballad voiced by the bridges themselves (Nora Hansen); and homelessness and architectural thresholds between exclusion and inclusion in public space (Alexander Hagner).

The essay Turning Frozen Yesterdays into Fluid Now… Or how to Intervene in the Frayed Fabric of a Sequence in Morocco’s Cultural History revisits a sequence of Morocco’s cultural history: the encounter of two anthropologists and the intersecting history of their approaches to popular and traditional art objects. This essay accompanied the eponymous exhibition presented by the curator Fatima-Zahra Lakrissa as part of the curatorial project “School of Casablanca” at ifa-Gallery in 2024 in Berlin initiated by KW Institute for Contemporary Art (Berlin) and the Sharjah Art Foundation (Sharjah), in collaboration with ThinkArt (Casablanca), Zaman Books & Curating (Paris) and the Goethe-Institut Morocco.The essay and the accompanying exhibition are devoted to the contemporary reception of Maghreb Art, a biannual journal of the Casablanca School of Fine Arts, published in three issues under the editorial direction of the artist Farid Belkahia (1934-2014), the Italian art historian Toni Maraini (1941), the Dutch anthropologist Bert Flint (1931-2024), and the artist Mohamed Melehi (1936-2020), who was also its artistic director.Maghreb Art accompanied the first attempts to structure a new field of knowledge, situated at the intersection of artistic and pedagogical experimentation, anthropology, material culture, and art history. Over the three years of existence, the journal Maghreb Art established itself as a pedagogical tool and as a fully active witness to the interaction between experimentation and theory, which forged the avant-garde reputation of the school in the wake of Morocco’s independence.Turning Frozen Yesterdays into Fluid Now… focuses on the intersecting and complementary, but also fundamentally unique approaches of Toni Maraini and Bert Flint at the time of Maghreb Art. The essay draws attention to the context, both theoretical and practical, in which the emerging paradigm of a post-colonial art history was debated. It is connected to a fictional dialogue between the two Maghreb Art’s theorists: a montage of fragments of their published writings from the period 1960-1990. It highlights the question of method and their respective gazes on the objects, as well as the interpretations they put forward. Other questions focus on the shifts in meaning induced by the transfer from the ‘field’ or ‘original context’ to the museum or school. The opposite process, which aims at re-interrogating the social function of art is addressed by Gilles Aubry, sound artist, musician and researcher, who has been invited by Fatima-Zahra Lakrissa to consider the contemporary reception of Maghreb Art.

The publication traces Andreas Valentin’s lifelong relationship with Brazilian avant-garde artist Hélio Oiticica (1937-1980). Spanning decades and continents, it began in 1959, when Valentin was six years old and began taking art lessons with Oiticica. It continued through exchanges of letters when, in the mid-1960s, Valentin moved to Thailand and Oiticica moved to the UK in 1968. As Irene V. Small writes in her preface to the book, their relationship was “reignited and transformed when they both resided in the United States in the 1970s: Valentin, now a university student studying in Pennsylvania, while Oiticica, ever-more transgressive, built a cosmos of experimental practice with a growing cast of characters in his loft in New York City”.In 1978, Oiticica returned to Rio, and their “camaraderie” continued. Andreas Valentin was one of two very close friends who had keys to his apartment when Hélio Oiticica suffered a fatal stroke at the age of forty-two.

Partitura is published on the occasion of the solo presentation by Silvia Bächli at Centro Botín, Santander, Spain in 2024. Bächli has created a ‘score’ in eight movements for the exhibition space: a sequence of rhythmic groups of drawings or ‘ensembles’ hung at different heights and intervals that, room after room, accrue meaning in their persistent accumulation. Each drawing and each set embodies a precious act of care and attention, of profound observation and reconsideration, in which the blank spaces are as important as the coloured forms. The publication reflects this rhythmic arrangement in its pages, respecting each composition of drawings presented on each wall, reproducing the changes of scale, the silences between shapes and the accumulations of textures, and thus becoming an experiential archive of the show. Since the late 1970s, Swiss artist Silvia Bächli has committed to drawing as a continuous practice that is deeply dependent on and entangled with her body and its movements, both within the domestic sphere and the landscape. Her drawings can be read as traces of sensorial records – a walk on a field, a body that aches, a poem that triggers – and corporeal gestures – the extension of the arm, the strength of the hand or the rhythm of the brushstroke. In this book, we find an essay by poet and art critic Quinn Latimer that presents Silvia’s practice as a somatic performance; a text by writer Chris Fite-Wassilak which narrates Silvia’s work as evidence of a rooted and daily practice, and finally a conversation between Bächli and Bárbara Rodríguez Muñoz, curator of the exhibition, that brings us closer to the artist’s decision-making process.

This publication documents the special commission made by Portuguese artist Carlos Bunga for the Sonae/Serralves Project in 2012: a very large structure for the entrance hall of the Serralves Museum emphasizing the space’s verticality and functionality, in dialogue with Álvaro Siza’s architecture. Richly illustrated with Bunga’s projects in other artistic contexts ? as the Pinacoteca do Estado de São Paulo, the Hammer Museum in Los Angeles or the Miami Art Museum, among others ? the book features texts by João Fernandes and Ricardo Nicolau, Adam Budak, Marta Jecu and an interview conducted by María Inez Rodríguez offering comprehensive insights into Bunga’s work.

The Nahua concept of ixiptla derives from the particle xip, meaning “skin,” coverage or shell. A natural outer layer of tissue that covers the body of a person or animal, the skin can be separated from the body to produce garments, containers for holding liquids or parchment as a writing surface.Originally a Nahua word, ixiptla has been understood as image, delegate, character, and representative. Ixiptla could be a container, but also could be the actualization of power infused into an object or person. In Nahua culture, it took the form of a statue, a vision, or a victim who turned into a god destined to be sacrificed. Without having to visually appear the same, multiple ixiptlas of the same god could exist simultaneously. The distinction between essence and material, and between original and copy vanishes.This edition of Ixiptla is focused on the trajectory of objects collected and produced by archeologists – plaster molds, facsimiles, drawings, photographs, and scale models –, in an attempt to capture and replicate material evidences left by time; these objects emerge from a specific moment in time, producing a doppelgänger of the original milieu, which then takes its own course. For this first issue, a group of anthropologists, archaeologists, artists, and writers have been invited to reflect on the role of the model, the copy, and reproduction in their areas of research and practice.Ixiptla is a new biannual journal about trajectories of Anthropology, it has been initiated by the artist Mariana Castillo Deball. The first issue is published on the occasion of Expedite Expression, 8th Berlin Biennale for Contemporary Art, Berlin, 2014.

By way of word games and schematics, Anna M. Szaflarski searches for the ‘emergent properties’ that materialize between texts. This book compiles the issues from Letters to the Editors: a self-printed black and white bi-weekly journal dedicated to text-based practices, written and distributed by Szaflarski between October 2014 and November 2015. Each issue combined Szaflarski’s texts with contributions from artists, writers, family, friends, librarians, and colleagues, ranging from poetry and fiction to essays and manifestos. As the project progressed the letters came together and the body of LTTE formed: It had arms and legs, perhaps a brain but above all, a heart and a stomach, often aching, rarely satisfied.With contributions by Ayami Awazuhara, Salvador Bautista, Aleksandra Bielas, Ilaria Biotti, Maggie Boyd, Mariana Castillo Deball, Santiago da Silva, Michele Di Menna, Kasia Fudakowski, Eva Funk, Florian Goldmann et al., Blanca Gomila, Anna Herms, Rodrigo Hernández, Valentina Jager, Tiziana La Melia, Maryse Larivière, Steve Paul, Barbara Plater-Szaflarski, Natalie Porter, Post Brothers, Ayumi Rahn, Stephen Remus, Malte Roloff, Gabriel Rosas Alemán, Manuel Saiz, Max Stocklosa, Peter Szaflarski, Stanislaw Szaflarski, Peter Wächtler, Till Wittwer, and Jacob Wren

Published by the CAPC musée d’art contemporain de Bordeaux in collaboration with BOM DIA BOA TARDE BOA NOITE, this reference book surveys the history of the independent publishing house Beau Geste Press (BGP) through the publications of its founding members Felipe Ehrenberg, Martha Hellion, David Mayor and Chris Welch, and of the numerous visitors to its rural outpost – visual poets, neo-Dadaists and artists affiliated with the Fluxus movement – from 1971 to 1976. A ‘catalogue dé-raisonné’ of all the printed matter produced by BGP, it is complemented by critical essays and first-hand texts that explore the working methods (economy and autonomy of production, distribution of books via post) and document the international influence of this short-lived ‘community of duplicators, printers, and artisans’.Designed by Studio Manuel Raeder and edited by curator Alice Motard, this richly illustrated 472 page-book follows on from the exhibition Beau Geste Press, shown at CAPC from 2 February to 28 May 2017. This publication, which was long in the making, is in itself a collective labour of love that brings together a worldwide network of friends and collaborators: it is dedicated to them, to Beau Geste Press and to its extended family.

Rosetta is one of the most popular restaurants in Mexico City. Since its doors first opened in 2010, it has reinvented what a Mexican restaurant can be: through sincere, ingredient-based cuisine that both revives and challenges tradition; through its commitment to serving local and seasonal produce grown by small-scale, sustainable producers; and through its location and attention to detail, creating a vibrant and welcoming atmosphere. The first book by Elena Reygadas, chef and owner of Rosetta, is more than a cookbook. For one thing, she shares a selection of her recipes from the present and the past. But she also offers a series of reflections on many different topics: from the social and environmental impact of industrialized food, to personal recollections, to the history of little-known Mexican ingredients. With Rosetta, Elena Reygadas proves why she is one of the most compelling chefs in Mexico—as acknowledged in 2014, when she was named Latin America’s Best Female Chef—and reveals herself as a gifted writer with a sensibility that goes beyond cooking. “This book instantly brought me back to Rosetta, where I was served the most beautiful meal made from seasonal, sustainable ingredients. Beyond the vibrant and delicious recipes Elena presents in this book, she also shows us how she thinks of a meal. It is not just about the food, it is about awakening all the senses—which is something I’ve always strived to do, too. The setting of the tables, the music, the flowers—all of it comes alive in Elena’s hands, and makes you feel like you are invited and welcomed into her home. ”Alice Waters, owner of Chez Pannise and founder of the Edible Schoolyard Project“Rosetta, Elena Reyadas’ beautiful cookbook, makes me want to fly down to Mexico City where I first sampled the delicious offerings from her restaurant and bakery. The photographs will entice you and your lucky guests will realize Mexican cuisines is one of the world’s finest. I may not have the time to fly south of the border very often, but I’ll be reliving my lovely vacations there whenever I open Rosetta. ”Nancy Silverton, chef and owner of Mozza Restaurant Group and founder of La Brea Bakery

repetition, repetition, is a publication compiled, edited and designed by *Anni’s. The process started as a study on how the grid – as a system, structure or blank space – operates as a phenomenon: how it persists and utilises constellations within craft-making, art, architecture and design. First initiated in 2016, the publication has manifested to a self-reflexive, rigorous journey on the inner workings of a graphic designer. **While researching the book, Anni’s visited various specialist libraries in Europe, as well as the book shelves and archives of friends.*Anni’s (founded in 2002) is a moniker for graphic designer Anni Vestergaard, who is based in Copenhagen and specialises in art books and printed matter.**Each page is reproduced 1:1 and corner aligned bottom right while retaining source pagination.

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

Nick Mauss’ artist’s book comes in the form of a postcard accordion with a wrap-around cover sleeve, reproducing artworks presented as part of his contribution to HERE AND NOW at Museum Ludwig: Transcorporealities, curated by Leonie Radine. Featuring works by George Brecht, Inge Schmidt, Jack Smith, Max Ernst, and Mauss, amongst others, this leporello recalls the juxtapositions and interrelationships among artworks and performers brought together within the permanent collections galleries of the Museum Ludwig for the duration of the exhibition, confounding representations of the body, the utterance, and the event.

Social Fabric Earth Return is a travel diary of a handwoven poncho with the keynote of interconnectedness. Over a period of ten years, the poncho was sent out as a textile avatar to meet various artists around the world, always handed over in person. The interactions with the poncho, through photography and correspondence, sketch out the journey and tell a story of togetherness in a world that has changed drastically over those years. The project inspires the question: What is the most essential element of what you do, and how can it be shared in a significant way?With Mark Borthwick, Rirkrit Tiravanija, The Wooster Group, David K. Shields, Boris Achour, Ariko Inaoka, Takashi Homma and Takehito Koganezawa, Mayu Tsuruta and Daisuke Nakayama, Meg Stuart and Sketches / Notebook Group with Iris Janke, Ezra Green, Stephane Leonard, Arkadi Zaides with David Adika, Amit Berlowitz, Ruti Sela (Noa Eshkol Chamber Dance Group) and Ruth Agassi, Nelly Agassi, Lori Waxman, Gus Powell, Antoinette Aurell, Annaleen Louwes, Daphna Saker Massey, Elizabeth Young, Christophe Rihet, Mauricio Guillén, Assume Vivid Astro Focus, Asi Rua and Charlotte J. Ward, CAConrad, Vladimir Miller, Barbara Raes and HAU Hebbel am Ufer with Dorothea Tuch, Kirsty Bell. The publication is supported by Gwärtler Stiftung and Fonds Darstellende Künste with funds from the Federal Government Commissioner for Culture and Media.

Eusociality in the EU is a collaboration between Otto (10) and Robin (42). It is a book about ants and their habitats, or perhaps more so about humans and their habits, which lends an age-fluid voice to various contents of the European continent: animals, plastic bags, homelessness, algae, chewing gum, hocus-pocus, money, holes, ant colonies, fantasy beings, tree roots, weather patterns, politics and flag-fluff. As the world transformed during the eight years it took to complete, subjects grew and angles changed, and the book took on a form as disorderly as life itself. Part allegory, part nonsense, and using play as an essential driver, this fable-esque jumble spanning 304 pages attempts to reflect on community beyond society – with a little help from a lot of sugar.

Over a thousand years ago a form of material code emerged among the Andes mountains. By means of knotted ropes, called ‘quipus’, numbers and words were enacted. This publication The Andean Information Age knots together a universe of stories related to the quipu system, the history of its ongoing decipherment, and the disruption that this sensorial code may be able to trigger in our present.

Looking back at a decade of activity of the project space Kinderhook & Caracas, this compendium showcases the work of the 83 Berlin-based artists whose practices have crossed paths through the small room on Kreuzbergstraße and several off-site projects around the city. Founded by artists Sol Calero and Christopher Kline in 2011 and named after their hometowns, Kinderhook & Caracas has focused on the in-depth production of solo exhibitions and unique group projects, developing an increasingly immersive approach over the years.The book features an intricate graphic design by Santiago da Silva and Ana Cecilia Breña which reflects the space’s layered, organic approach to curating, offering a time capsule for a certain era of artist-led exhibition-making in Berlin. An introduction by John Holten and the collection of original exhibition texts contextualize the projects by offering tangential references, historical anecdotes, and a poetic approach to background research.

2022 marked the 25th anniversary of BLESS. Since 1997, Desiree Heiss and Ines Kaag have been working together on numerous transdisciplinary projects. Dubbing themselves ‘situation designers,’ their products blend fashion, art, design, architecture, business and social practice, always aiming to create an equilibrium between mental and physical exertion. Driven by the ambition to create objects for everyday use, BLESS defines her practice and products as a way of life—based on the firm belief that one can shape life today in a way that creates a future worth living in. The third publication of the Paris and Berlin based designers is one of the three outcomes of the project A Year with… BLESS N°?72 BLESSlet, with which KW Institute for Contemporary Art honored the anniversary. The publication encompasses BLESS’s collection and projects from 2010 until 2022, with written reflections on their innovative and witty work by Douglas Fogle & Hanneke Skerath, Anna Gritz & Krist Gruijthuijsen, Nakako Hayashi, Tom McCarthy and Jeppe Ugelvig. The publication was made possible with generous support by Federal Ministry Republic of Austria for Arts, Culture, the Civil Service and Sport. A Year with… BLESS N°?72 BLESSlet was produced in collaboration with Phileas – The Austrian Office for Contemporary Art. It was supported by Kvadrat.

Through an unconventional use of casting and molding techniques, June Crespo has developed a sculptural language that questions the attributes, narratives and genealogies associated to materials such as concrete, steel or bronze. In her recent works, the references to the human body and the presence of architectural and botanical motifs respond to a precise mandate: to put into question the distinction between the structural elements and the ornament.
Published on the occasion of the exhibition Vieron su casa hacerse campo at the Museo CA2M – Centro de Arte Dos de Mayo in 2023, this publication presents an indepth survey to June Crespo’s artistic practice and unravels the particular spatial and material relationships that her work brings into play. In addition to graphic documentation of the exhibition, the publication includes documentation of other recent projects, graphic materials specifically produced for this book, and a series of essays written by Aimar Arriola, Sylvia Lavin, Julia Spínola and Marc Navarro, curator of the exhibition.

A cento is a poem composed of verses or fragments from various literary texts that are collaged into a new one. The word comes from an ancient Latin term which means a blanket made of textile scraps.
This etymological root interweaves important aspects of Cosima zu Knyphausen’s practice: the materiality of a piece of cloth – the support of the paintings – with the process of quoting, paraphrasing and appropriating art historical motifs, in order to imagine an alternative canon that is shaped by lesbian desire.
Cento brings together a selection of paintings by Cosima zu Knyphausen from the last five years. Instead of following a chronological order, the works are presented in an intertextual reading that puts them in dialogue and show the range of interests that the artist has pursued in her versatile practice, such as her variations on the motif of ‘women reading’, Christine de Pizan’s medieval feminist utopia, the interior of a Berlin queer bar, and egg shell universes.
Accompanied by an essay by Rahel Schrohe, and a poem of the artist, the pages of Cento are overarching Cosima zu Knyphausen’s themes, as well as assembling the book itself as a context for the work: a mosaic, a patchwork garment, an egg.

Talisa Lallai´s book Post Tropical follows the concept of a travel magazine: it offers unique photo spreads of tropical objects, interspersed with critical essays and reprints of travel advertisements. Lallai uses both found images and her own photography to point to the presence of colonialism in the contemporary Global North. The viewer is confronted with impressive images of animals, plants, historical travel slides and stamps, making clear that in the campaign of conquest by the West, photography has just as much to answer for as other art forms.

The publication provides a comprehensive insight into the images of landscape by the Ethiopian-born artist Robel Temesgen, forming symbiotic associations with spirits and community and introduces the Addis Newspaper project, which consists of artistically designed pages from newspapers based on research in social media. A text by Jan Verwoert, and a conversation between the artist and the director of the Kunsthalle Lingen, Meike Behm, provide deeper insights into the content conveyed by the artworks. The book is published on the occasion of the solo exhibition by Robel Temesgen at the Kunsthalle Lingen 2022.