DURCH 12 Maxine Kopsa (Ed.)

Published by Grazer Kunstverein, Graz 2014, 108 pages (colour & b/w ill.), 16.5 × 24 cm, English/German

Price: €15

Josef Bauer, Körpergalerie,1974
Dear Trisha Brown – A letter from Robert Wilhite
Dear Mr Christopher Williams – A letter from Robert Wilhite
Nina Beier – In tribute to time spent walking with Will (2013)
Will Holder – Caption card (2014)
Democracy is Empty, A conversation between Doug Ashford and Mierle Laderman Ukeles, originally published in Documents, no.10, Fall 1997, pp. 23-30
Lucky Dime, for Seth Siegelaub by Willem Oorebeek
Thoughts on control by Raivo Puusemp
Jan Mot and Germaine Kruip in discussion about Ian Wilson
A letter to Céline Condorelli by Tyler Coburn
A conversation between Eva Berendes and Doug Ashford
A conversation between Lucy Skaer and Willem Oorebeek
Invited by Tirdad Zolghadr, Marina Noronha’s Curatorial Systems Manifesto (as a response to Mierle Laderman Ukeles)
Céline Condorelli, Three letters to all and no one – strangers, friends, collaborators, allies
Notes on a lunch meeting (with Willem Oorebeek) by Kate Strain
Sarah Browne, Remembering Gray, 2013 – In collaboration with Alice Lyons
Beatrice Gibson, A letter to Axel Wieder (and also implicity to Will Holder)
David Reinfurt and Stuart Bailey – A conversation
Victoria Dejaco – Lantern slides

Designed by Marc Hollenstein.

#célinecondorelli #christopherwilliams #davidreinfurt #dougashford #ianwilson #janmot #josefbauer #lucyskaer #marchollenstein #maxinekopsa #mierleladermanukeles #ninabeier #robertwilhite #sethsiegelaub #stuartbailey #tirdadzolghadr #trishabrown #willemoorebeek #willholder
Traction Tirdad Zolghadr

Published by Sternberg Press, Berlin, 2016, 264 pages, (1 b/w and 4 colour ill.), 13 × 21 cm, English

Price: €18

Traction argues that contemporary art is defined by a moral economy of indeterminacy that allows curators and artists to imagine themselves on the other side of power. This self-positioning, in turn, leaves us politically bankrupt, intellectually stagnant, and aesthetically predictable. In his memoir-polemic, curator and writer Tirdad Zolghadr candidly reflects on his own experiences and the work of others. He also drafts possibilities for a logic and a support structure that can offer some purchase of their own, beyond the gravitational pull of business as usual. Ultimately, Traction calls for a renewed sense of profession, somewhere within the corridors of power where, for better or worse, contemporary art has long arrived. Design by Aude Lehmann, Zurich.

#1 #2016 #sternbergpress #tirdadzolghadr
The Artist As Aileen Burns, Johan Lundh, and Tara McDowell (Eds.)

Published by Sternberg Press, Berlin; Curatorial Practice at MADA, Melbourne and the IMA, Brisbane, 2018, 328 pages (b/w ill.), 12.5 x 20 cm, English

Price: €17 (Out of stock)

The Artist As is based on a lecture series with the same title that ran throughout 2016. It was presented at the Institute of Modern Art (IMA), Brisbane, and at Monash University’s Faculty of Art Design & Architecture (MADA), Melbourne, as part of the Curatorial Practice program.

“How do artists work today? What kinds of roles do they occupy, have these roles changed over the years, and how does this impact the ecology of art?” These are some of the questions that contributors Brook Andrew, Walter Benjamin, Heman Chong, Ekaterina Degot, Hal Foster, Helen Hughes, Helen Johnson, Isabel Lewis, Adam Linder, Suhail Malik, Tara McDowell, Emily Pethick, Terry Smith, Cecilia Vicuña, and Tirdad Zolghadr, seeks to address in this reader.

The Artist As is edited by Aileen Burns, Johan Lundh, and Tara McDowell. Designed by Ziga Testen and Robert Milne.

#2018 #adamlinder #robertmilne #tirdadzolghadr #zigatesten