An artist book by Jay Chung and Q Takeki Maeda that offers summaries of several hundred documents from the archive of gallerist Alfred Schmela, now housed in the Getty Research Institute collection. Through his gallery, Schmela introduced and promoted innovative European and American artists such as Joseph Beuys, Arman, Gerhard Richter, ZERO (Otto Piene, Günther Uecker and Heinz Mack), Hans Haacke, Christo, Lucio Fontana, Robert Indiana and Yves Klein. For Letters, Chung and Maeda concentrate on the final years of the gallery’s operations, beginning from 1980 when, upon his death, the gallery was taken over by Schmela’s daughter Ulrike. With active support from his wife Monika, the gallery operated under Ulrike’s directorship until its closure in 1992.

Edition of 300. Introduction by Helen DeWitt. Designed by Ronnie Fueglister.

This two-part publication has been released in March 2014 on the occasion of the exhibition 01–72 by Daniel Gustav Cramer at SALTS, Basel. It consists of an artist’s book, giving more insight into the project and a reader with texts from Quinn Latimer, Kirsty Bell and an interview interview between Samuel Leuenberger and the artist. Designed by Ronnie Fueglister.

Contributions by Paul Chan, Keren Cytter, Nicolás Gaugnini, Irena Haiduk, Madeline Hollander, Sarah Kürten, Jordan Lord with Carissa Rodriguez, Luzie Meyer, John Miller, Rachel Rose, Karin Schneider, Cally Spooner, Studio for Propositional Cinema, Lawrence Weiner, Christopher Williams

A compendium of essays, scripts, poems, and proposals by various artists, in relation to a Spectator: was compiled by Studio for Propositional Cinema for their eponymous exhibition at the Kestner Gesellschaft in Hannover. In the opening text, Studio for Propositional Cinema—an artist collective founded in Düsseldorf in 2013—sets the context for the book’s investigations into notions of the script, staging, and the conditions of the exhibition itself. Other contributions include Keren Cytter’s rules and declarations for engaging life; Irena Haiduk and John Miller’s ruminations on the nature of the image and of the cinematic, respectively; a series of missives to Kevin Spacey from Cally Spooner; and an “open letter” by Christopher Williams detailing the labor and material conditions that have furnished the walls on which his exhibitions have hung.

This book is part of an ensemble of structures related to the nature of presentation in the Kestner Gesellschaft exhibition. Visually connected in their ultra-gloss white surfaces, they are meant to be seen as intertwined sites for the display of objects, the reproduction of images, the staging of performances, and the transmission language through talks and conversations. Design by Ronnie Fueglister.