This book, with follows the eponymous exhibition at Mudam Luxembourg, is constructed as a story, with a prologue, four acts, and an epilogue: an intuitive journey through the voices of thirty-four artists from different generations who are experimenting with the idea of the performative.
Dreaming Alcestis is an artist’s book by artist and filmmaker Beatrice Gibson, conceived as an accompaniment to her holographic film installation of the same name. It features a commissioned essay by poet and translator Allison Grimaldi Donahue, as well as a reprint of the American poet Alice Notley’s 1991 essay What Can Be Learned From Dreams?
What if clay is the future and the future is clay? Curators Chus Martínez and Filipa Ramos brought together a group of artists to think and create through this old, maleable and fascinating matter. The result was materialized in an exhibition and book format entitled Feet of Clay.
Catalog of the eponymous exhibition, held at the Centre d’Art Contemporain Genève and curated by Andrea Bellini, this publication brings together a number of essays that explore the notion of metamorphosis from different perspectives. The catalog, like the exhibition, celebrates a world in constant transformation, where human nature is fluid and hybrid, open to change.
Ce catalogue de l’exposition éponyme, organisée au Centre d’Art Contemporain Genève sous la direction d’Andrea Bellini, rassemble plusieurs essais qui explorent la notion de métamorphose sous différentes perspectives. Le catalogue, comme l’exposition, célèbre un monde en constante transformation, où la nature humaine est fluide et hybride, ouverte au changement.
Fredrik Værslev: The Garden Paintings is the first publication dedicated solely to one specific body of work in the artist’s practice. It includes essays by Martha Kirszenbaum and Erlend Hammer, and gives a comprehensive and chronological account of the works from the series, showing their stylistic development as well as their exhibition history.
Edited by Fabian Schöneich
Texts by Lawrence Abu Hamdan, Natasha Ginwala, Ruba Katrib, Andrea Lissoni, Ramona Naddaff,
Fabian Schöneich, Yasmine Seale, Theodor Ringborg, Eyal Weizman
Designed by David Bennewith
Co-published with Bonnier Konsthall
2022, English, hardcover, 19 x 25 cm, 256 pages
ISBN 979-12-80579-08-9
Richly illustrated, this book provides for the first time a visual overview of Lawrence Abu Hamdan’s works of more than a decade, and elaborates on a formal vocabulary characterized by the aesthetics of sound and language. Published on the occasion of his exhibition at Bonniers Konsthall in Stockholm, a group of authors have been invited to engage with individual works and their underlying concepts. Abu Hamdan recognizes the space for art as a site where attention can be drawn to real socio-political conditions in order to challenge the structures behind them. The artist can therefore push at the boundaries of what constitutes testimony. The title “Dirty Evidence” comes from Abu Hamdan’s definition of evidence in which a truth value is derived from its very inadmissibility before the law. It is precisely the evidence’s figurative dirt and dirtiness that works toward the production of truth.