Onion Walk and News Animation (Rehearsal) Simone Forti

Published by ReadingRoom, Melbourne, 2018, two sided card (b/w ill.), 14.8 × 21 cm, English

Price: €4

Produced on the occasion of Onion Walk and News Animation (Rehearsal), 24 January–17 February, 2018 at ReadingRoom, Melbourne.

Simone Forti is a dancer, artist, writer based in Los Angeles. She came of age artistically in the 1960s, a time of rich dialog between poets, musicians, dancers and visual artists. Her early Dance Constructions were influential to the reinventing of dance in New York that happened in the 60s and 70s. Forti has collaborated extensively with musicians Peter Van Riper and Charlemagne Palestine, basing her dancing on studies of animals’ movements and on the dynamics of circling.

Designed by Robert Milne.

#2018 #ephemera #robertmilne #simoneforti
Lawrence Weiner Is Your Alphabet’s Sixth Letter Reinier Vrancken

Published by Reinier Vrancken, Rotterdam, 2018, unpaginated (colour & b/w ill.), 14.8 × 21 cm, English

Price: €5

A photograph depicting Lawrence Weiner leaning casually against the wall next to his work was uploaded to a website to point out in which letter the work was typeset. The website ascribes Weiner to the alphabet’s sixth letter (that letter that starts the word we use when we describe moving through the air with wings). Edition of 50

#2018 #lawrenceweiner #reiniervrancken
Lutz Bacher What’s Love Got to Do With It invitation

Published by Kunstsammlung Nordhein-Westfalen, Düsseldorf, 2018, foldout poster (colour & b/w ill.), 10.5 × 21 cm (folded) 42 × 38 cm (unfolded), English / German

Price: €2

Invitation produced on the occasion of Lutz Bacher, What’s Love Got to Do With It at Kunstsammlung Nordhein-Westfalen, Düsseldorf, 7 September 2018 – 6 January 2019

American artist Lutz Bacher made work spanning an array of media since the 1970s. The game of hide-and-seek she played with her own self by working under a masculine pseudonym since early on in her career can serve as a helpful entry point to Bacher’s artistic practice. It centered around issues of identity, power structures, and violence, all the while remaining ambiguous and enigmatic.

In Untitled (2017), Donald Trump’s signature is enlarged and repeated on white paper that runs across the walls of all three exhibition galleries. The work is intersected by hastily scribbled notes from everyday life in Open the Kimono (2018), and ostensibly meaningful, zen-inspired sentences in Black or White (2018), which pass by in an endless loop on giant screens.

#2018 #ephemera #lutzbacher
Dead Marble invitation card Ruth Buchanan

Published by Artspeak, Vancouver, 2018, 2 pages (b/w ill.), 14.7 × 10.5 cm (folded), English

Price: €2 (Out of stock)

Produced on the occasion of Ruth Buchanan’s exhibition Dead Marble at Artspeak, Vancouver June 9–July 28, 2018.

In 1958, weaver Ilse von Randow was commissioned to produce a major work of woven curtains for the Auckland Art Gallery Toi o Tamaki in New Zealand. Her ‘Auckland Art Gallery Curtains’ became the largest piece of hand weaving created in New Zealand. In her first presentation of work in North America, Dead Marble revisits von Randow’s curtain, and the newly designed Auckland Art Gallery sculpture court (1953) in which they were hung, as a departure point to reconfigure the complex relationships between gendered representations, institutional hierarchies and the burden of inherited legacies.

#2018 #ephemera #ruthbuchanan
Katinka Bock Radio Piombino

Published by The Common Guild, Glasgow, 2018, 16 pages (colour & b/w ill.), 14.5 × 23 cm, English

Price: €14

Produced to accompany Katinka Bock’s exhibition Radio Piombino with text by art critic and curator Anne Bonnin. Designed by graphic design collective Åbäke, the publication includes a selection of black and white photographs by Katinka Bock alongside installation images by Ruth Clark, two of which appear as gloss colour stickers. Printed on recycled matt paper and bound with red staples.

#2018 #katinkabock #thecommonguild
The Name of Philippe Thomas / Philippe Thomas’ Name Elisabeth Lebovici

Published by Sternberg Press, Berlin, 2018, 112 pages, 11.5 × 18 cm, English/German

Price: €9

In the artistic activities of Philippe Thomas (1951–1995), there was a determination to disappear: it was his procedure to transfer his title of author onto his collectors. This was the case when selling an artwork, or whenever the author’s credit was needed for a commissioned text, and in the institutional co-operations that Thomas was a participant of. With this strategy Thomas worked against his own historicization, erasing his name from the reigning European and North American art fields and with prescience Thomas “put up obstacles to block his future ‘googleability’” (Hanna Magauer). In recent years, the works and writings of the artist, who also acted on behalf of the semi-fictional agency readymades belong to everyone®, again gained greater visibility and as of current are being assigned a place in art history.

With this book, Elisabeth Lebovici elaborates on Thomas’s strategy to cede and fictionalize authorship and suggests a reading of his work that incorporates questions of gender and reproduction, the multiplicity of the subjects involved, and the unbearable disappearance of Thomas (who died of AIDS-related complications), into the process of enunciation. It is Lebovici’s suggestion that the performativity of Thomas’s work requires two versions at once: “the one where one enters into the fiction and the one where one observes the beauty of the arrangement and the plot at work. The one where one is inside and the one where one contemplates it.”

Designed by HIT Studio

#2018 #elisabethlebovici #hitstudio #philippethomas #sternbergpress