STAGING: Solo #2 (Exhibition poster/pamphlet) Maria Hassabi

Published by Kunstsammlung Nordhein-Westfalen, Düsseldorf, 2017, foldout poster (colour & b/w ill.), 10.5 × 21 cm (folded) 42 × 51.5 cm (unfolded), English / German

Price: €3

Produced on the occasion of Maria Hassabi’s STAGING: Solo #2 (2017), 9 December 2017 – 21 January 2018, which reimagines and adapts her multi-sited installation STAGING (2017). STAGING was previously exhibited at the Walker Art Center, Minneapolis and in documenta 14, Kassel. This new iteration will feature a lone dancer on an expanse of vivid pink carpet, enacting highly concentrated, protracted, at times barely perceptible movements. Like nearly in all of her works, STAGING: Solo #2 (2017) is a site of negotiation for her powerfully subversive performances: between the performer and their task, the spectacular and the everyday; between subject and object, bystander and viewer. In consistent ways, her pieces undermine media boundaries, clear classifications, and perceptual habits, replacing these with new, not necessarily decipherable images, while activating the viewer’s sensibilities and self-reflection to an extreme degree.

#2017 #ephemera #mariahassabi
Sculpture and Drawings (invitation card) Ken Price

Published by Matthew Marks Gallery, New York, 2006, 4 page card (colour ill.), 14.6 × 22.1 cm, English

Price: €5

Produced on the occasion of Ken Price’s exhibition Sculpture and Drawings at Matthew Marks Gallery, New York, Septemmber 22 – November 4, 2006

For over 50 years, Ken Price produced small-scale, brightly colored ceramic sculptures with exquisitely worked glazed and painted surfaces in which he achieved a balance between form and surface. In recent years, Price began making works in much larger sizes. His youthful experiences as a surfer in Los Angeles greatly influenced his art, which he explained as the manifestation of that which he found pleasurable.

#2006 #ceramics #ephemera #kenprice #westcoastceramics
Cady Noland

Published by Museum für Moderne Kunst, Frankfurt, 2018, 32 pages (colour & b/w ill.), 10.5 × 22 cm, English/German

Price: €5

Booklet produced on the occasion of Cady Noland at the Museum für Moderne Kunst, Frankfurt, 27 October 2018 – 31 March 2019

“During the 1990s, Cady Noland earned a reputation for making sculptural assemblages that toy with iconic symbols of Americana. Her CV lists numerous prestigious exhibitions – the 1991 Whitney Biennial and documenta IX among them – but in 2001, Noland withdrew from public life. Although she rarely shows new work, her name often appears in the context of auction houses. She has made headlines for her work’s record-setting prices, but more often, she has hit the news owing to litigation. Indeed, Noland’s numerous attempts to prevent the sale of her works, arguing they are too damaged, has been interpreted by some as an attempt to destroy her own market. The fact that the artist’s first exhibition in nearly a decade is appearing outside America at the Museum für Moderne Kunst (MMK) in Frankfurt is the latest chapter in a career that seems to rebuke the art world’s conventions at every step.” White Review, 2019

You can find a pdf of the booklet in German or English here and here.

#2018 #cadynoland #ephemera

Published by 1856, Melbourne, 2019, 8 pages, 21 × 29.7 cm, English

Price: €2

As part of Paris Internationale 2019, 1856 presented “Everything is fine” with work by Patricia L. Boyd, Ian Burn, Lauren Burrow, and Fred Lonidier.

The work of art is possibly one of the only commodities with equal claim to both private and civic space. It is due to how artworks are embedded in our social relations that we recognise their different values: as historical artefacts, as objects of appreciation (“beautiful” or sensible to taste), political critiques, private financial investments, modes of communication, public documents of the national imaginary—the list goes on. However, the line that divides private and civic has become ever more indiscernible in recent decades—for instance, the erosion of public infrastructure and state industry, private capitalisation on culture and entertainment, the withering of the 8 hour work day, the return of 19th century work conditions, and the ongoing enclosure of our personal lives by a new technological industrialism. In response we might ask, in a reflective manner, what capacity the work of art has to represent these problems at the different points of its reception. The four artists selected here, at different times and with different methods, have asked this of their work. Curated by Nicholas Tammens

Designed by Ziga Testen

More on information can be found here.

#1856 #2019 #ephemera #fredlonidier #ianburn #laurenburrow #nicholastammens #patricialboyd #zigatesten
Invitation Card Anne Truitt

Published by Matthew Marks Gallery, New York, 2010, 4 pages (colour & b/w ill.), 21.7 × 28 cm, English

Price: €8

Invitation card produced on the occasion of the exhibition Anne Truitt at Matthew Marks Gallery, New York, 8 May – 26 June, 2010. With an insert that contains a selection of Anne Truitt’s writing.

#2010 #annetruitt #ephemera
Déformation Professionnelle Nairy Baghramian

Published by S.M.A.K., Ghent, 2016, 26 pages (colour & b/w ill.), 14.8 × 21 cm, Dutch / French / English

Price: €4

Pamhplet produced on the occasion of Nairy Baghramian’s solo show Déformation Professionnelle, 26 November 2016 – 19 February 2017.

Déformation Professionnelle was a new production that built on 18 sets of works in the artist’s oeuvre from 1999 to 2016. Baghramian alludes to existing work and associated elements, from discarded ideas to working material. In this exhibition she was, in her own words, “surveying the survey”. By refusing to show what exists and nevertheless reconsider it in the ‘new’, the exhibition connected to fundamental questions about progress and economy and asks when something ceases to exist, and how something new comes into being.

#2016 #ephemera #nairybaghramian