Claiming that the museum is not enough means asking what a museum should be and do, eventually questioning the role of cultural institutions in society. Through conversations, stills of documentaries, responses, and reprints of archival documents that explore ideas of architecture on the ground, this volume reflects on the tools deployed by the institution to redefine its relationship to others.
Affirmer que le musée ne suffit pas, c’est interroger ce qu’un musée devrait être et faire, et réfléchir de manière critique sur le rôle des institutions culturelles dans nos sociétés. À travers des conversations, des photogrammes de documentaires, des interventions et des reproductions d’archives questionnant les conceptions de l’architecture sur le terrain, ce volume réfléchit aux outils mis en œuvre par l’institution pour redéfinir sa relation aux autres.
Semi-Nomadic Debt-Ridden Bedouins is the first monograph on the work of the Palestinian artist and filmmaker Basma al-Sharif. Spanning nearly two decades of moving-image and installation work, it combines visual documentation with texts that reflect on the charged political landscapes through which al-Sharif navigates.
This monograph marks the occasion of the first European survey of Nicola L. (1932–2018). Often discussed in the context of Pop Art, activism, feminism, and design, this is the first in-depth exploration of the multi-layered and expansive nature of her extraordinary practice, which also encompassed cosmology, environmental concerns, spirituality, political protest, and sexuality.
The artist’s book to love and devour by Tolia Astakhishvili was published on the occasion of the inaugural exhibition at the new site of the Nicoletta Fiorucci Foundation in Venice, curated by Hans Ulrich Obrist.
This monograph, published on the occasion of Samson Young’s exhibition at SFMOMA, focuses on his latest project, Intentness and Songs, a multimedia installation that poetically traces the idiosyncratic rhythms of love, memory, experiences of time, and AI. Essays and a rich set of unpublished materials offer new keys to understanding the artist’s work.
Texts by Kirsty Bell, Christopher Bollen, Judith Eisler, Wade Guyton
Design by Joseph Logan
2024, English, hardcover, 19.6 x 28.5 cm, 176 pages
ISBN 979-12-80579-56-0
Center of the Frame, which brings together paintings made between 1997 and 2024, is Judith Eisler’s first monograph. The artist’s paintings depict paused moments in cinematic time in which predominantly female subjects are caught midnarrative, cropped, and recontextualized by the fundamental elements of painting: form, color, and light. Using preexisting material borrowed from moving images, Eisler defines the abstractions inherent in the representational image with shifting marks of paint. The structure of the painting is informed by the information in the source as well as the more intangible issues of perception, desire, and mediation.
Featuring an essay by Kirsty Bell, an introduction by Christopher Bollen, and an interview with Wade Guyton, the texts delve into the artist’s fascination with cinema and the transmission of images through the various formats of analog film, television broadcasts, internet videos, and of course, the painted canvas.
“Eisler seizes on the information within the cropped still image in an entirely structural sense, beyond any cognitive meanings of expression, action, or emotion, focusing in on these differentiations as if examining the very infrastructure of vision.”
—Kirsty Bell
