This is a limited edition photo book in 200 copies with images by Peter Wiklund and texts from poems by the Swedish writer Willy Granqvist (b. 1948, d. 1985). 

The Swedish word Ängelen means “the angel” (but with an elderly spelling).

Each book is numbered and signed, and has a small unique, handmade cyanotype on the cover.

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Tupacproject consists of the construction of a monument dedicated to Tupac Amaru Shakur, the Black Panther rapper who died in 1996 in a drive-by shooting in Las Vegas Valley.

Since the opening exhibition at the Marta Herford Museum in 2005, it has stood imperturbably in front of the Gehry architecture: the life-size sculpture by Tupac Shakur.

Raised on a nearly 5 m high pedestal and with arms folded behind, shirtless and eyes lowered, the life-size monument by the Italian artist Paolo Chiasera (*1978, Bologna) is one of the first works of art that the visitors* even before entering look into Marta. And meanwhile it has become an integral part of the “museum skyline”.

For many, however, the presence of the gangsta rapper in Herford remains a mystery, as does the German rapper Marteria, who visited the Tupac statue together with rap colleague Casper last summer. Marteria lost a €50 bet because he doubted the existence of a Tupac statue in Herford.

With contributions from Lorenzo Benedetti, Hans Ulrich Obrist, Pier Luigi Tazzi.

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A Kassen is a Danish art collective whose work encompasses photography, installation, and sculpture. Recalling the process-over-product mantra of 1960s action painters and Pop artists, their practice hinges on central questions of authorship and explores the relationship between form and content. Beginning with an everyday object—a material such as bronze, or something more ephemeral, like a puddle or a reflection—A Kassen task themselves with acts of construction and deconstruction, reinterpretation and recontextualization, all the while challenging preconceived notions of what the phenomenon in question is. Through these manipulations, they create works meant to be seen explicitly through the context of art and aesthetics, where the spectator’s role becomes central—indeed, an integral part of the work. Bystanders become interpreters, creating layers of meaning and understanding while rewriting the narratives at hand.

Dimensions Variable includes essays by Irene Campolmi, Adam Carr, and Jonatan Habib Engqvist, and an illustrated chronology of A Kassen’s works.

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A diary of liberated gestures in clay.
Throwing Mud is a collection of photographs that document Luca and Lily reconnecting with play in their creative process through freedom of form and gesture.

“Lily Pearmain and Luca Anzalone spent a week playing with their respective materials in each other’s company. Lily with clay, and Luca with film. The whole project was an experiment in playing naively with materials that both authors had become accustomed to using. The resulting photographs have been collated here in a book, which the authors hope will act as a guide to play and childlike exploration of common materials.”

Limited edition of 300.  
Cover screen printed in terracotta clay

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Inside this box is a book that holds thirteen letters written between 2019 and 2022 by the artist Yamine Elmelegy to the sculptor and industrialist Fathy Mahmoud (1918-1982). Yasmine never met Fathy Mahmoud but started writing these letters shortly after she discovered that a cup she has at home is signed by him. This happened only days after she learnt that Fathy Mahmoud was responsible for a series of iconic public statues in Cairo and Alexandria. The letters show Yasmine’s search for what is left from Fathy Mahmoud’s artworks, the porcelain plates and cups he produced, the factories he founded and the history he left behind about the relationship between art and industry. 

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In Sculptor’s Notebook, originally written in 1985, the artist Pushpamala N evaluates the artistic practice that she had been developing until then. Centred largely around themes of adolescence and womanhood, her sculptures had won her the Sixth Triennale Award and the National Award. While the sculptures take centre stage, in this dissertation can be found a longing to move further towards performance, humour, and play-acting—themes that the artist would go on to develop over the following decades. Both an artist’s statement and a notebook-format prophecy, Sculptor’s Notebook charts the motivations, struggles, and desires of the artist’s multi-medium practice.

Published for the first time by Reliable Copy and Sharjah Art Foundation, Sculptor’s Notebook was written as part of Pushpamala N’s Master’s in Sculpture at the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda. The complete facsimile of this dissertation is accompanied by a recent interview with the artist by Nihaal Faizal and Sarasija Subramanian.

Born in Bangalore in 1956, Pushpamala N has been called “the most entertaining artist-iconoclast of contemporary Indian art.” In her sharp and witty work as a photo- and video-performance artist, sculptor, writer, curator, and provocateur, and in her collaborations with writers, theatre directors, and filmmakers, she seeks to subvert the dominant cultural and intellectual discourse. She is known for her strongly feminist work, for her rejection of authenticity, and her embracing of multiple realities. Pushpamala exhibits widely in India and internationally, and speaks often at seminars and conferences.

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This publication is the first monograph by Ali Cherri. Through an introduction by the artist, four essays and an interview, this book reveals the political, aesthetic and dreamlike dimensions of a work that the artist has been developing for over fifteen years.

Born in Beirut, Ali Cherri lives and works between Beirut and Paris. He belongs to this generation of Lebanese artists born during the civil war whose work has been strongly affected by this context of instability.

Texts by Ali Cherri, Aaron Cezar, Tarek El-Ariss, Nicole Brenez, Hannah Feldman, Roxana Azimi.

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Printed on the occasion of the inaugural exhibition of the same name, 23 – 27 Feb, 2017 at the Printed Matter, Inc. Los Angeles Art Book Fair, on the site of the Geffen Contemporary at MOCA.

In Support of Books is an exhibition of contemporary Bookends from an international assembly of Product, Object and Industrial designers. The project seeks multiple outcomes: to survey a single typology of design object; to share the references of its exhibitors; and to begin a series of inquiries into the objects associated with the reading, display, and appreciation of books. In Support of Books is accompanied by a printed catalog of the same name with photographs by Brian Guido & Julia Stotz, and essays by artist Erik Benjamins and Laura Houseley of Modern Design Review.

Participants:
Ini Archibong / OTHR (Basel, CH / New York, US)
Bazazas (New York, US)
Besler & Sons (Los Angeles, US)
Book / Shop (Oakland, US)
Marco Kane Braunschweiler (Los Angeles, US)
Building Block (Los Angeles, US)
Chen Chen & Kai Williams (New York, US)
Daniel Emma / Field (Adelaide, AU / Washington, DC)
Henry Julier (New York, US)
Cecilie Manz / Muuto (Copenhagen, DK)
Michael Marriott / Hato (London, UK)
Norma (Los Angeles, US)
Ouli (Los Angeles, US)
Alex Reed (Los Angeles, US)
Klemens Schillinger / Hem (Vienna, AT / Stockholm, SE)
Studio EO (Stockholm, SE)
Brendan Timmins (New York, US)
Visibility / Matter Made (New York, US)
Waka Waka (Los Angeles, US)
Wintercheck Factory (New York, US)
Wrk-Shp (Los Angeles, US)
Kenyon Yeh / Good Thing (Taipei, TW / New York, US)

Edited & Published by Norma, Los Angeles

Good Hugging
by Erik Benjamins

The Bibliophile & the Bookend
by Laura Houseley

Photography
Brian Guido & Julia Stotz

Printing
Paper Chase Press

1st Edition, 250

Norma, Studio for Objects, Moveables, and Spaces
2017

Skinned and Detouched, a pair of artists books, are a portal to a single performative stage in the industrial production of two large scale sculptures, one of which is on show at Large Glass. The books, including writing by Jennifer Boyd, photography by Thierry Bal and design by Europa, imaginatively document the multiple embodiments and disembodiments involved in one moment in the production of the two works.

Skinned and Detouched document one stage in the production of two sculptures:

210 s t r e t c h e d aluminium fingers for Mechanoreceptor, Icicles (red, red) (triple spring, striple strip) were dipped in liquid PVC at Plastic Coatings in Kingswinford, West Midlands, UK, on Friday 16 February 2018.

40 spider crab shells (Maja Brachydactyla) and 56 brown crab shells (Cancer Pagurus) for Crustacean Satellites were vacuum metallised at Dual Metallising in Tyseley, Birmingham, UK, on Monday 29 January 2018.

—

Text by Jennifer Boyd

Photography by Thierry Bal

Design by Europa

Printed in Birmingham by Genie in an edition of 1000
Supported by Eastside Projects, Konrad Fischer Galerie and Large Glass
Published by Eastside Projects and Motto Books in 2018

Women Between Buildings focuses on Wermers’ practice of the past 15 years, and includes essays by Sabeth Buchmann, David Bussel and Kerstin Stakemeier. Designed by Daly & Lyon, published by Kunstverein in Hamburg, Compagnia and Motto Books.

Women Between Buildings was published in conjunction with Wermer’s solo exhibition at Kunstverein in Hamburg.