The album brings together the music composed by Federico Chiari for various film and video works by Diego Marcon, including Monelle (2017), Ludwig (2018), The Parents’ Room (2021), and Dolle (2023). The album comes with a booklet containing lyrics and images that provide a deeper insight into this unique, profoundly intertwined collaboration between Chiari and Marcon.
This small anthology reviews some of the central themes of Diego Marcon’s research: from the role of the display in exhibitions to his relationship with cinema, from the use of special effects and animatronics to the sense of community established through his work. Glassa accompanies the exhibition of the same name designed by the artist for the spaces of the Centro per l’arte contemporanea Luigi Pecci in Prato.
Strata raccoglie 37 conversazioni con artisti il cui lavoro ha dato un contributo significativo alla scena artistica italiana e internazionale a partire dal 2000. Questo libro è il resoconto personale di una serie di incontri, amicizie e relazioni professionali che Vincenzo de Bellis e Alessandro Rabottini hanno coltivato negli ultimi vent’anni.
Strata compiles 37 conversations with artists whose work has made a significant contribution to the Italian and international art scene since 2000. This book is the personal account of a number of encounters, friendships, and professional relationships that Vincenzo de Bellis and Alessandro Rabottini have nurtured over the past twenty years.
Pardon Façade documents the artistic output of Luca Monterastelli, showcasing almost all of the sculptures and installations that he produced between 2011 and 2022. Across four chapters—corresponding to four solo shows that he staged in Milan, Otegem, Antwerp, and Naples—the publication provides the first overview of the artist’s work.
More than half a century after its premiere, Yvonne Rainer, in collaboration with choreographer and dancer Emily Coates, directed the 2019 revival of her 1965 performance Parts of Some Sextets. This book poses questions about the trajectories of artworks, performers, and audiences, all while tracing the life—and afterlife—of a dance.
Edited by Fatima Hellberg, James Richards, and Leslie Thornton
With work and contributions by Horst Ademeit, Rae Armantrout, Tolia Astakhishvili, Ed Atkins, Kirsty Bell, Adelhyd van Bender, Bruce Conner, Fatima Hellberg, Mason Leaver-Yap, Veit Loers, Terence McCormack, James Richards, Jens Thornton, Leslie Thornton, and Thomas Zummer
Copublished with Bonner Kunstverein, Malmö Konsthall and Künstlerhaus Stuttgart
Designed by Karl Kolbitz and Nicoletta Dalfino Spinelli
2021, English, hardcover, 21.9 x 28.5 cm, 160 pages
ISBN 978-88-945353-3-4
Divine Drudgery is an artist book with collages and artworks by James Richards and Leslie Thornton, and contributions by artists, writers and poets centred around liminality and the aesthetics and politics of the invisible. These dialogues and strands are anchored in and loop back to three exhibitions developed by the editors: Speed (Künstlerhaus Stuttgart), Speed II (Malmö Konsthall), and The Holding Environment (Bonner Kunstverein), and radiate outwards.
In the making of Divine Drudgery, there has been an ongoing concern with specific psychic and temporal states, rushes of systemic and embodied interconnectedness and wonder, as well as a sense of porousness and paranoia. The oscillation between an ordering impulse and the relinquishing of control is a central feature, one that returns in Divine Drudgery’s different modes: in the poetry and writing; collages, visual essays and specifically conceived work. There is an impulse of collaboration that brought about this project, one that renders the monologue of anxious speculation into a dialogic practice. The disparate elements have been generated from the third mind of collaboration, a channelling of and at times conscious unsettling of each other’s sensitivities, a process which in the words of artist and contributor to the publication Adelhyd van Bender could be understood as the “divine drudgery.“
Ph. Mareike Tocha
The editors
Fatima Hellberg is director of Bonner Kunstverein and former artistic director of the Künstlerhaus Stuttgart. Her curatorial practice is developed in close dialogue with artists and is often associated with long-term exchange, with amongst others Gregg Bordowitz, Ellen Cantor, David Medalla, James Richards and Leslie Thornton. She has curated exhibitions in institutions including the ICA, London; Tate Modern; the CCA Wattis Institute for Contemporary Arts, San Francisco; the South London Gallery and Malmö Konsthall.
Known for his provocative and visually seductive moving-image works that collage together a wide range of source material, James Richards’s work carves out a space where personal politics and digital materiality might meet. Recent exhibitions include When We Were Monsters, Haus Mödrath (2021); The Holding Environment, Bonner Kunstverein (2021); Alms for the Birds, Castello Di Rivoli (2020); Speed II, Malmö Konsthall w/ Leslie Thornton (2019); Speed, Künstlerhaus Stuttgart w/ Leslie Thornton (2018).
In a career spanning nearly five decades, Leslie Thornton has produced an influential body of work in film and video. Her early encounters with experimental, structuralist, and cinéma vérité fuelled her iconoclastic take on the moving image and gave shape to her practice of weaving together her own footage and voice with archival film and audio. Thornton’s work has been exhibited at documenta 12, Kassel; The Whitney Museum of American Art, MoMA PS1, and Artists Space in New York; Tate Modern and Raven Row in London; the Walker Art Center, Minneapolis, among many others. Recent solo and two-person exhibitions have taken place at Kunstverein Nürnberg (2020); Malmö Konsthall (2019); Secession, Vienna (2018) and Künstlerhaus Stuttgart (2018).
