Triangle Books – förlag

Mash Up is the first comprehensive monographic publication dedicated to the work of London based artist Anthea Hamilton, following her survey exhibition at M HKA in 2022. For over two decades, Anthea Hamilton has developed a complex practice which spans sculpture, installation, film and performance. This book presents for the first time the full scope of Hamilton’s artistic production and gives prominence to the artist’s creative and independent spirit. It opens with a mashup of images featuring textures, details, patterns and collages weaving their way into and out of the work. The section ‘Spaces’ features past exhibitions and projects in a way that attests to the artist’s commitment to ambitious spatial interventions, starting with M HKA in 2022 and going back in time all the way to Hamilton’s first individual exhibition, at Ibid. Projects in 2006. The last section of the book presents the artist’s complete production through an illustrated catalogue raisonné of individual works arranged in chronological order – of exhibitions, performances and collaborations – from 1999 to 2022.

Le pied, le pull-over et le système digestif is a board book featuring photographs of the eponymous triptych of sculptures by artist duo Daniel Dewar and Grégory Gicquel, commissioned by Le Voyage à Nantes in 2021 and installed in Saint-Nazaire, France. The three monumental works—depicting a human foot, a knitted jumper, and a human digestive system—are cast in massive concrete blocks and rise nearly seven metres high, embedded among the sand and rocks of the shoreline. The publication serves both as an object in its own right and as an intimate companion piece to the public works, capturing a moment in time for sculptures intended to evolve over decades, shaped by natural erosion and the unpredictable forces of the elements. Shot by the artists on 35mm film shortly after the installation, the images present both close-ups of the coarse, textured surfaces and wide contextual views of the sculptures within their coastal setting, on the edge of the harbour.

Sports Cards brings together over 70 of Jonas Wood’s sport trading card drawings and paintings. Featuring four different covers, the fully illustrated monograph includes works from 2005—2023 and is the first comprehensive compilation of this body of work. Grown out of Wood's genuine affinity for sports and athletes, this publication traces his interest in fandom and his trajectory of image making. Seeing Wood's sport trading card works presented in succession, sequenced alphabetically by athlete's name, allows the viewer to follow athletes sporting careers through the artist's eye and underscores Wood's continued devotion to sport as a subject for creation.

Lais Amaral’s first publication presents a selection of works produced over the last five years by the artist, who was born in São Gonçalo, Niterói, and is one of contemporary art’s most promising rising stars. Self-identifying as an “artist-artisan,” Amaral currently devotes herself to painting. Her work explores themes related to environmental collapse, especially desertification and the phenomenon of “whitening” in Brazil, drawing parallels between these landscapes and the social and economic struggles of their inhabitants.

Affiches 2, expanded edition, is the first monograph focusing exclusively on Saâdane Afif’s posters. Limited-edition posters are an integral part of Afif’s practice. Produced on the occasion of an exhibition / performance, each design lists the title and date of the related project, as well as the names of any additional collaborators. Serving as both an announcement and an archival document, the posters form a visual record of the evolution of Afif’s work.

La Merde is a personal anthology bringing together more than 200 images from art history, popular culture, and various other fields that engage with bodily material, abjection, and the politics of visibility. Developed as an extension of the eponymous project for the Luxembourg Pavilion at the 61st Venice Biennale, the publication functions both as an archive and as an autonomous object. Spanning from the Middle Ages to the present, it traces how excrement has been depicted, mobilised, or aestheticised over time. The use of shit, whether as material or as symbol, has often served as a gesture of transgression, a way to test the limits of representation, to question systems of value, and to express forms of resistance or dissent. Produced in a compact format reminiscent of pocket Bibles, the book contrasts its discreet appearance with the explicitness of its content.

Splendeur et Décadence des Sirènes is an exhibition by Aline Bouvy, presented at the New Space in Liège from 25 October 2020 to 9 January 2021. The building used to be the garage of the Federal Police in Liège, and the exhibition consisted of a frieze in three panels presenting a police unit and four modified remote-control cars. A specific voice was assigned to each car. On 11 December 2020, four musicians were invited to drive one of these singing cars. Side A presents the recording of this session. Side B is an original composition by each artist created from sound material developed by Pierre Dozin for the voices of the remote-control cars.