Books 2024 ⎸ Winter break

In Conversations with Robert Barry, the artist goes into conversation with Franz W. Kaiser. In spite of many published interviews with Robert Barry, these conversations may stand as exceptional examples of oral history about the early days of Conceptual Art, as well as about the significance of Robert Barry’s oeuvre. They may further the understanding of his work and also help to appreciate how different original Conceptual Art is from today’s supposed successors.

This catalogue brings together Katinka Bock’s three exhibitions from 2019–2020 at Pivô (São Paulo), Kestner Gesellschaft (Hannover), and Anticipations (Paris). It explores her use of materials like bronze, clay, and found objects to connect themes of time, space, and history. Featuring texts by Lea Altner, Thomas Boutoux, Fernanda Brenner, Adam Budak, Rebecca Lamarche-Vadel, François Quintin, Clara Schulmann, Christina Végh, and the artist.

Katinka Bock’s book Der Sonnenstich appears with the first exhibition to focus solely on her photographic work. Parallel to her work as a sculptor, she often takes pictures using an old analogue camera. The subjects are diverse, and when people come into the frame they tend to be anonymised, close-up details of body parts like hands, feet, and necks. The book includes 55 reproductions of analogue photos taken between 2015 and 2023, attesting to the ‘sculptural’ view she has on objects, spaces, bodies, and living [removed];

The artist’s first comprehensive monograph, the book features works ranging from 1996 to 2007 and includes specially commissioned essays, as well as numerous reproductions and, for the first time, the preparatory drawings for the films and installations. Published for the exhibitions at the Centre Pompidou, Paris; the MIT List Center, Cambridge; the De Pont Foundation, Tilburg; Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver; and the Kunstmuseum St. Gallen.

A hybrid monograph/artist book of Nathalie Du Pasquier’s work. Published on the occasion of Nathalie Du Pasquier’s solo show at MACRO – Museum of Contemporary Art of Rome, this book navigates the space between an exhibition catalogue and the artist book with juxtapositions of photographs of Nathalie Du Pasquier’ works, installation views of the show at MACRO, and extracts from texts by various writers and figures fundamental for her [removed];

A rich iconography of Shirley Jaffe’s works as well as unpublished archival photographs illustrate this monograph. The book includes texts by Frédéric Paul, curator of contemporary art at the Musée national d’art moderne, Svetlana Alpers, a renowned American art historian, Claudine Grammont, director of the Musée Matisse in Nice, and an interview with the artist conducted by Robert Kushner. Catalog of the exhibition “Shirley Jaffe. An American in Paris” at the Centre Pompidou from April 20 to August 29, 2022.

Peter Joseph’s paintings are formally and chromatically reductive.  His earliest work to gain wide attention was diagrammatic, featuring one quadrangular form inscribed inside another. Restricting his palette to two colors, he creates allusions to landscapes–interior landscapes structured with references to classical [removed]; Joseph adheres to an idealist tradition and favors natural light for exhibiting his subtley hued cotton-cloth [removed]; 

In the four colors of the newspaper
with a four-color pen
and a good sense of abstraction
you get a bit of the [removed];(Jean-Luc Moulène)

40 newspaper clippings (revised by Jean-Luc Moulène), facsimiles, manually inserted into the body of the book

The catalogue Anne Neukamp. Impossible Object was published on the occasion of the exhibition of the same name at the Leopold-Hoesch-Museum, Düren. Anne Neukamp’s paintings and works on paper are dedicated to central questions of painting. To this end, she intensively explores the functionalities of visual [removed];She references key developments and discourses of modernism, recognising them as relevant to our engagement with the present and tracing the mechanisms of image creation in the field of tension between self-referentiality and representation.

Perceptron is the first comprehensive survey of Putrih’s work that oscillates between architecture, sculpture, and science. Through an encyclopedic array of reference materials and critical texts, it examines Putrih’s practice in the context of architectural and design history as well as the history of cybernetics, and offers a richly illustrated study of Putrih’s modifications of public spaces, experiments with collective form, as well as his immersive temporary environments created out of everyday materials.

Red Roses shows the extraordinary artistic practice of this internationally acclaimed London-based artist and winner of the prestigious Prix de Rome 2015. The publication features a range of recent [removed]; Magali Reus (b. 1981, The Hague) has been creating hyper-realistic sculptures for more than a decade. She represents, redefines, enlarges and deforms everyday objects in various materials and using surprising combinations of digital, manual and industrial processes.

A collectible publication on Magali Reus’ thinking of objecthood.  This artist’s book offers a unique approach to art making through the unveiling of the sources, visual imagery, and connections that gave birth to the realization of three emblematic series by Magali Reus: “Dearest,” 2018; “Empty Every Night,” 2019; and “Settings,” 2019–[removed];

KOOL. A Type Specimen is an artist’s book built around KOOL (“cabbage” in Dutch), a new font designed by Magali Reus, winner of the seventh edition of the Arnaldo Pomodoro Prize for Sculpture. Midway between a plant alphabet and concrete poetry, the KOOL font is created in collaboration with Antonio de la Hera and Kia Tasbihgou and includes twenty-six lowercase letters, twenty-six uppercase letters, a complete set of numbers, sixteen punctuation marks, and six symbols.

In Stories, I–XX  the artist elaborates on his displacement of painting into other realms to engage us in a rhythmical reflection on color. Moving from one Story to the next, the idiosyncratic nature of these pieces confronts their seriality – form and logic sporadically emerge and disappear. During the 1980s, Tuttle began experimenting with materials and framing devices to probe art’s relationship to scale, form and systems of display. Diverting from the cold precision of Minimalism his approach to art embraces a playful and handmade quality that promotes the idea that things are always “just beginning”.

In Out of Place, noted art historian John C. Welchman offers a tour-de-force discussion of the first 25 years of Koen van den Broek’s work. The book is partly chronological, partly attentive to the genres, styles and concepts around which the artist has innovated, from painting to public space. Welchman unpacks a wide spectrum of references and allusions—to Mondrian, Malevich, Matisse, Rothko and many other modernist artists; to postwar photographies; to the art cinemas of the 1960s and ’70s; and to the history of interstates and the evolution of the singular urban fabrics of the [removed];

Firminy gathers 11 paintings on paper and an in situ installation by Koen Van den Broek, made for his eponymous solo exhibition at the Regent-Reychler gallery in Saignon, in the south of France. The paintings, that belong to a larger group of similar works on paper, are inspired by the Saint-Pierre church in Firminy designed by Le Corbusier, and carry the same spirit as the building in terms of light, volume and linearity. These works reveal the direct relation between architecture and the practice of van den Broek, who originally started an education as architect before studying visual arts.

Marking the occasion of Didier Vermeirens eponymous solo exhibition at WIELS in Brussels, this book illuminates the recurrent strategies of repetition, reversal, doubling and inversion that the artist explores in his work. Double Exposition takes its name from a photograph by Vermeiren that refers to its own double exposure (exposition in French, which also translates as exhibition). The title thus evokes the recurrent strategies of repetition, reversal, doubling, and inversion that Vermeiren explores in his work.

Exhibition catalogue. In the work of Johannes Wald (*Sindelfingen 1980, lives and works in Berlin), who sees himself as a conceptual sculptor, there are only a few works that correspond to the conventional idea of sculpture. Their creation is also not the focus of his interest. Instead, he looks for ways to convey new artistic experiences to the public as directly as possible.