Deux Soeurs Beatrice Gibson

Published by Sternberg Press, Berlin & Bergen Kunsthall, Bergen, 2020, 248 pages (colour ill.), 10.8 × 18 cm, English

Price: €16

Edited by Axel Wieder, with texts by Robert Glück, Ursula K. Le Guin, Audre Lorde, Eileen Myles, Alice Notley, Pauline Oliveros, Adrienne Rich and contributions by Basma Alsharif, Erika Balsom, CAConrad, Adam Christensen, Beatrice Gibson, Mason Leaver-Yap, Eileen Myles, Irene Revell

Deux Soeurs brings together a chorus of voices that explore representations of parenthood, friendship, and disobedience. The book acts as a reader to artist Beatrice Gibson’s films, I Hope I’m Loud When I’m Dead (2018) and Two Sisters Who Are Not Sisters (2019), and includes material that informed Gibson’s working process, together with the artist’s texts and notes used in both films.

Designed by HIT Studio.

#2020 #audrelorde #axelwieder #beatricegibson #bergenkunsthall #caconrad #eileenmyles #hitstudio #masonleaveryap #robertglück #sternbergpress #ursulaleguin
A Line May Lie, Testing Time Judith Hopf

Published by Kunstverein Lingen & Studio Voltaire, London, 2015, 64 pages (b/w ill.), 11 × 16 cm, English/German

Price: €13

Published to coincide with Hopf’s exhibitions A Line May Lie, at Kunsthalle Lingen and Testing Time at Studio Voltaire, 2013. Includes essays by Meike Behm and Joe Scotland.

Hopf’s work focuses on how our social environments shape us, influence us, and by extension thereby exclude us from ourselves. Hopf uses a wide variety of techniques such as sculpture, installation, film and performance, often engaging subjects and materials that can be found in the immediate environment.

Designed by HIT Studio.

#2015 #hitstudio #judithhopf
The scene in which I find myself / Or, where does my body belong Ruth Buchanan

Published by Govett-Brewster Art Gallery/Len Lye Centre, New Plymouth, 2019, 96 pages (b/w ill.), 21 × 29.7 cm, English

Price: €4

A comprehensive exhibition guide for The scene in which I find myself / Or, where does my body belong at the Govett Brewster Art Gallery, New Plymouth, curated by Ruth Buchanan.

Presenting the largest number of collection works ever shown at the Govett-Brewster Art Gallery, including treasured highlights, the project seeks to break (open) the mechanisms of collecting and challenges the role and success of the museum. If a collection is meant to reflect the society that creates it, there are problems with the methodologies if amongst this highly regarded collection, so few perspectives are captured.

This conflict in motion is made visible through the lens of a gallery collection, and provides a crucial course alteration for the future. Here, the collection becomes the scene, and the body in attendance is dynamically addressed, and each of us – the institution, the visitor, and the artist herself are implicated in what these future procedures may be.

A PDF of the publication can be downloaded here.

#2019 #hitstudio #ruthbuchanan
BAD VISUAL SYSTEMS RUTH BUCHANAN, JUDITH HOPF, MARIANNE WEX

Published by Adam Art Gallery, Wellington, 2016, 51 pages (colour & b/w ill.), 21 × 29.7 cm, English

Price: €20

BAD VISUAL SYSTEMS is an extension of the exhibition with the same title held at the Adam Art Gallery, Wellington, New Zealand in late 2016. Through paying close attention to both colour and texture the publication brings together elements seen in the show and transforms and reconfigures them into the framework of the A4 page: the tongues of Judith Hopf’s concrete serpents become cartoon-style cut outs, Ruth Buchanan’s 13m long banner of wavy lines becomes a place holder that repeats throughout the book while Marianne Wex’s work is discussed in detail in a new essay by Mike Sperlinger. The book also includes an introduction to the project by Christina Barton and a fold-out index of exhibition snapshots. Designed by HIT Studio. Photography by Shaun Waugh, Sophie Thorn, Jim Barr

#2016 #hitstudio #judithhopf #mariannewex #ruthbuchanan
Jill Johnston The Disintegration of a Critic

Published by Sternberg Press, Berlin, 2019, 224 pages (colour & b/w ill.), 10.8 × 18 cm, English

Price: €16 (Out of stock)

Jill Johnston—cultural critic, auto/biographer, and lesbian icon—was renowned as a writer on dance, especially on the developments around Judson Dance and the 1960s downtown New York City scene, and later as the author of the radical-feminist classic Lesbian Nation (1973). This book collects thirty texts by Jill Johnston that were initially published in her weekly column for The Village Voice between 1960 and 1974. The column provided a format in which Johnston could dissolve distinctions between the personal, the critical, and the political. Her writing took turns and loops, reflecting its times and contexts, and set a stage for the emergence of Johnston as a public figure and self-proclaimed radical lesbian that defied any prescribed position.

Johnston’s original texts are accompanied by three new contributions by Ingrid Nyeboe, Bruce Hainley, and Jennifer Krasinski, as well as an appendix with archival material related to a panel Johnston organized in 1969, titled The Disintegration of a Critic: An Analysis of Jill Johnston. Edited by Fiona McGovern, Megan Francis Sullivan, Axel Wieder. Designed by HIT.

You can read more on Jill Johnston in Jennifer Krasinski’s Art in America article here.

#2019 #axelwieder #brucehainley #hitstudio #jilljohnston #meganfrancissullivan #sternbergpress #theory
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 #theory