The work of Lee Lozano (1930-1999) is one of the best-kept secrets in today’s contemporary art world. She was a woman artist who established herself and her work in New York in the 1960s in a world dominated by men and then decided to give it all up in the early 1970s and moved to Dallas. Lozano’s work, even in the short period she was active in New York, encompassed, and in many ways mastered, a wide range of styles from text works to abstract paintings, drawings to everyday activities declared art. She knew and collaborated with some of the most famous names of minimalism and conceptualism, but she always held herself a little apart. She fought for her own idealisms, matched it with her disillusionment and questioned feminism even as she made drawings of the absurdities of a patriarchal world where tools, machines, weapons and money dominate the imagination. Her later Language Pieces can now be understood as some of the most radical expressions of the conceptual movement at that time.

This publication assembles images from her work and archives to gether with a series of texts that outline her development as an artist from the 1950s and focus on particular activities or reminiscences. There is also the partial transcript of a unique recording of a lecture Lee Lozano gave at the Nova Scotia College of Art and Design in 1971 shortly before she left the art world.

In total, this book sheds light on a fascinating individual artist and also adds another point of view to the rich, complex story of the NewYork art scene in the 1960s and its continued resonance in our culture today.

Author: Adam Szymczyk (Ed.)

Publisher: Schawbe AG / Kunsthalle Basel

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Through the work on a collective publication, differently located artists (Marseille and Frankfurt) meet within the realm of literary expression. The writing of prosaic, autofictional/autobiographic texts, as well as poems with the emphasis of the localization of one’s own identity, feministic and general political themes, is the starting point of the planned publication. 

This writing, that is part of their whole artistic practice, is what connects the four participating artists. Hereby text seems to be a meaningful media of connection. In the context of the release of the publication, two readings have taken place at Voiture 14 in Marseilles and at saasfee*pavillon in Frankfurt am Main between March and June 2023. 

The Publication itself, as well as the readings, aspire to transport the intimate, to share something private, and through that question a private and political reality. The interdisciplinary practice of the participating artists, that combine in performance, sculpture, photography, social artistic practice in public spaces, music-production and more, will show not only in the format of the readings but also in the publication itself. The publication is no classical book, but rather a collection, a personal archive of text, memory and emotion (anger, lust, grief, sorrow, empathy and tenderness). 

The goal of the project is, to balance (geographic) distance, through the confrontation with similar themes from different perspectives. The reality of life stays different, but a speaking tube appears, a connecting aspect – through the constant, careful perceiving of one’s own reality and the digesting through the writing process. 

Handmade in an edition of 80.

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n.paradoxa vol. 33: Religion. Katy Deepwell (Ed.). KT Press.

vol 33 2014: Relgion

‘Editorial’ pp. 4

Ayelet Zohar
‘Yayoi Kusama: The Jewel, the Mirror and the String of Beads’ pp. 5-15

Lou Cabeen
‘Artists pages: ‘Public Display” pp. 16

Barbara Kutis
‘Confronting Catholic Ideals: Elzbieta Jablonska, Katarzyna Kozyra, Dorota Nieznalska’ pp. 17-25

Zehra Jumabhoy
‘Of Voyages and Vetiver: A Conversation with Zarina Hashmi’ pp. 26-31

Oreet Ashery
‘Artists Pages: ‘Party for Freedom” pp. 32-37

Mathilde ter Heijne
‘Artists Pages: ‘Experimental Archaeology: Goddess Worship” pp. 38-43

Paula Levine
‘Artists Pages: ‘as if the laws were malleable” pp. 44-47

Lieke Wijnia
‘The Last Supper: Marlene Dumas, Mary Beth Edelson and Elisabeth Ohlson Wallin’ pp. 48-56

Judy Batalion
‘Helene Aylon in conversation’ pp. 57-66

Mirjam Westen
‘Almagul Menlibayeva: ‘Women always bring problems to religions…’’ pp. 67-72

Michelle Moravec
‘Performing Prehistory: Would you rather be a goddess or a cyborg? Cheri Gaulke and Anne Gauldin’s ‘Malta Project” pp. 73-84

Julian Vigo
‘Sturtevant: On Religion/Sacrilege’ pp. 85-91

‘Female Power’ (Arnhem, MMK, 2013)’ pp. 92-93

”The Beginning is Always Today’ (Saarlandets Museum, 2013)’ pp. 94-95

Language: English
Size: 21 x 26 cm
Binding: Softcover

11 €

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C Magazine #117: Translation. C The Visual Arts Foundation.

Featuring: Hito Steyerl, Feminism After Elles, Institutions by Artist, Feminist Art Gallery, Christopher Kulendran Thomas, Kristiina Lahde, Tiziana La Melia, Leah Bowery, Vanessa Maltese, Roman Liska, Sean Alward, Kika Thorne, Hazel Meyer & Rick Leong

Spring 2013
60 Pages
English
ISSN 1480-5472

Price: 5€

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CODE:RED. Tadej Pogačar. Zavod P.A.R.A.S.I.T.E

CODE:RED includes a series of theoretical essays from the fields of gender studies and feminism, the history of the struggle of sex workers, their political actions, their fight for human and social rights, their cultural work, their inclusion in labor syndicates, and so on. The publication pays tribute to the extraordinary individuals who through their courage and boldness have managed to escape the vicious circle of ignorance and stigmatization.

The book also presents essential information about the CODE:RED project – its beginnings, structure, strategies, actions, networks, and collaborations. Also included are visual documents from projects in São Paulo, Venice, Madrid, and New York, as well as three issues of the Sex Worker newspaper. The authors of the essays are Ana Lopes, Pia Covre, Gabriela Silva Leite, Suzana Milevska, Maria do Mar Castro Varela and Nikita Dhawan, Mamen Briz, Mojca Pajnik, and Melissa Ditmore.

The book was edited by Tadej Pogačar, with language editing by Rawley Grau and Jana Wilcoxen and graphic design by Ajdin Bašić. The book has been published in English.

The publication of CODE:RED was made possible by the financial support of the Erste Foundation, the Ministry of Culture of the Republic of Slovenia, and the Department of Culture of the Municipality of Ljubljana. The publisher of the book is the P.A.R.A.S.I.T.E. Institute.

236 pp., 240 ill.

D €30

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