“I’m interested in the resonances, the re-habitualizations, and the echoes of that historical moment in the contemporary.”

For more than three decades, Tony Cokes (b. 1956, Richmond, USA; lives and works in Providence, USA) has been exploring in his work the ideology and affect politics of media and popular culture as well as their social impact. Starting from a fundamental critique of the representation and visual commodification of African-American communities in film, television, advertising, and music videos, Cokes has developed a unique form of video essay that radically rejects ­representational imagery. These fast-paced works consist of found text and sound material from diverse sources such as critical theory, online journalism, literature, and­ popular music.

The US artist’s first institutional solo exhibition in Germany also marks the first ­comprehensive collaboration between Kunstverein München and Haus der Kunst. The thematic starting point for Cokes’s new productions is the ideological and propagandistic entanglements of both exhibition venues during the Nazi era as well as their cultural-political role in the context of the 20th Olympic Games in Munich in 1972.

The publication Fragments, or just Moments accompanies the eponymous exhibition and translates stills from the newly produced video essays into a book format while examining the significance of Cokes’s work in terms of a contemporary approach to institutional critique. The essays are written by Tina M. Campt and Tom Holert, with an introduction by Emma Enderby and Elena Setzer (Haus der Kunst) as well as Maurin Dietrich, Gloria Hasnay, and Gina Merz (Kunstverein München).

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This special issue is the cataLog for Model Behavior, a group exhibition of models, architectural and otherwise, curated by the Anyone Corporation and presented by The Irwin S. Chanin School of Architecture at The Cooper Union in New York City. The exhibition, which ran October 4–November 18, 2022, questioned the role of the model in projecting or eliciting social behavior. In addition to documenting the 55 exhibited works with four-color images and project descriptions, the 160-page cataLog includes essays by curator Cynthia Davidson; by architecture theorists Jörg H. Gleiter, Kiel Moe, and Christophe Van Gerrewey; and by art historian Annabel Jane Wharton.

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MODEL BEHAVIOR

OCTOBER 4 – NOVEMBER 18, 2022

A GROUP EXHIBITION CURATED BY THE ANYONE CORPORATION AND PRESENTED BY THE IRWIN S. CHANIN SCHOOL OF ARCHITECTURE OF THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

Models, whether physical or digital, are intrinsic to architecture. Just as science, mathematics, politics, economics, and other fields use models to visualize, reflect, and predict behaviors, so do architectural models. Model Behavior, a group exhibition curated by Log editor Cynthia Davidson, designed by New Affiliates (Ivi Diamantopoulou and Jaffer Kolb), considered how architectural models contribute to shaping social behaviors. Model Behavior featured 70 works and objects by 45 artists and architects including artists Olafur Eliasson, Isamu Noguchi, Ekow Nimako, and Thomas Demand, and architects Peter Eisenman, Darell Wayne Fields, Greg Lynn, Forensic Architects (Eyal Weizman), First Office (Anna Neimark and Andrew Atwood), MALL (Jennifer Bonner), Ensamble (Débora Mesa and Antón García-Abril), and Höweler and Yoon (Eric Höweler and Meejin Yoon).

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Catalogue from Patti Smith’s exhibition and poetry reading on the occasion of Arthur Rimbaud’s 123rd birthday (October 20, 1854) at the Galerie Veith Turske on October 20, 1977. The book contains images of Smith’s paintings and drawings as well as photographs and poetry, in English and German.

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This publication is part of Motion, a major exhibition by Dutch artist, graphic designer, and educator Karel Martens at Kunstverein München.

Co-edited by Martens and Julie Peeters, the bulk of the content for this book comes from the video Not for Resale – a sequence of photographs from Martens’ studio wall in Hoog Keppel in 2000. The videos Lost & Found (2004), and Tol (2008) are also included in the book, as well as a transcription of a conversation between Martens and Kunstverein director Chris Fitzpatrick, followed by an afterword (both in English and German).

Edited by Karel Martens and Julie Peeters
Texts by Chris Fitzpatrick and Karel Martens
Designed by Julie Peeters

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One space, One structure, A set of regulations.

Temporary City is an exhibition that starts from the basis: the artist. No theme or curator is involved. During the course of one week fifteen artists worked in the Atelierhof Kreuzberg and challenged, negotiated and discussed their practices in order to use these as a base to develop an exhibition. Their works were presented on an architectural structure, an ‘obstacle’ designed for the show. The result of this process could be seen during the exhibition Temporary City Berlin 2009.

Artists: Anton Cotteleer, Ilke De Vries, Yoko Enoki, Paul Hendrikse, Anouk Kruithof, Nicolas Leus, Katrin Plavcak, Olivier Schrauwen, Nele Tas, Iris Van Dongen, Stijn Van Dorpe, Ada Van Hoorebeke, Tamara Van San, Sarah Westphal, Nada Sebestyén.

Texts, Introduction: Nele Tas; Exhibition Diary: Christophe Van Gerrewey; No Such Things as a Plan: Andreas Müller; St Curatus at the Crossroads: Christoph Tannert.

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Published on the occasion of the exhibition “Latefa Wiersch. Original Features”, Kunsthaus Langenthal, 25 August – 13 November 2022.

All texts and images originally published on Instagram @artpop_insta between 2018 and 2022.

The Kunsthaus Langenthal presents the first institutional solo exhibition of the work of Latefa Wiersch (*1982 in Dortmund, Germany, lives and works in Zurich). Her work is populated by liminal beings that combine elements of human and animal, plant, object, and machine, and that pupate and transform. Drawing on observations of everyday life and a provocative sense of humor, these figures tell stories about social realities and the life of the artist. Against the background of current discourses on identity, Latefa Wiersch confronts the gaps in her own history. The centerpiece of the exhibition is a performance with the Dandara Modesto and Rhoda Davids Abel.

Text & Images: Latefa Wiersch
Graphic Design: Dorothee Dähler
Editing: Eva-Maria Knüsel
Proof Reading: Thomas Skelton-Robinson

Edition of 300

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Between 28 April 2020 and 3 September 2021, Giulia Casartelli painted and sent 111 watercolour postcards to as many selected recipients. Each postcard reproduced a fragment of the short story Clementina Butterfingers (Edizioni postali tigre, 2022), written by the artist from 2014 to 2020. On 26 September 2021, Giulia started a trip to visit the locations where the postcards are now displayed. She photographed (or has asked the addressees to photograph) these intimate spaces and reproduced them in watercolour. 111 stanze is an archive of this journey.

Texts by Giulia Casartelli, Camilla Pietrabissa, Elena M. R. Rizzi
Translation: Johanna Bishop
Book design: Federico Antonini

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The book has been produced on the occasion of the exhibition The Beirut Experience at Beirut Art Center in Beirut (12.10 – 19.11.2011) and at Villa Bernasconi in Lancy, Geneva (20.04 – 10.06.2012).

Artists: Lara Almarcegui, Marc Bauer, Tony Chakar, Marcelline Delbecq, Latifa Echakhch, Eric Hattan, Mark Lewis, Adrien Missika, Estefania Peñafiel Loaiza, Dan Perjovschi.

The edition includes Vacant buildings in the Hotel district, Beirut by Lara Almarcegui.

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With texts by Amy Sillman and Emily LaBarge

Exhibition catalogue with twenty color illustrations of paintings by the British painter Prunella Clough (1919–1999). Published to commemorate the first German presentation of the artist’s work at June gallery, Berlin, the book focuses on the artist’s late-career departure from the industrial figuration for which she was known into a wry, quietly influential approach to abstraction. Included works date from 1960–1993. Prunella Clough’s abstraction developed largely out of step with any artistic movement or milieu: impervious to the advent of Pop, she was more taken by the Minimalism of Donald Judd and Sol LeWitt, which may have accentuated her sense of restraint. Amy Sillman calls Clough “a ‘conceptual painter’ avant la lettre,” while Merlin James emphasizes how she “anticipated many traits in post-modern painting.” Awarded the Jerwood Painting Prize in 1999 shortly before her death, and recognized with significant solo exhibitions at Annely Juda Fine Art Gallery (1989), the Camden Arts Center (1996), and a posthumous Tate Britain retrospective (2007), Clough’s legacy remains bogged down by emphasis on her early figurative works, tethering her innovative abstraction too tightly to an industrial origin story. This catalogue is a remedy to this situation.

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Cut a Door in the Wolf, published on the occasion of the exhibition by Jason Dodge at MACRO Museum for Contemporary Art of Rome.
Photography Adrianna Glaviano.
Book design Julie Peeters.

Japanese binding, wrapped in a printed sheet.
This is the first in a series of monographs by BILL.

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