Center of the Frame is the artist’s first monograph and brings together paintings made between 1997 and 2024. The publication provides an in-depth look at Eisler’s fascination with cinema and with the transmission of images through the various formats of analog film, television broadcasts, Internet video and, of course, the painted canvas.
On the occasion of PROVENCE’s 15th anniversary, the reader My Alphabet presents 26 texts published by PROVENCE between 2009 and 2024, either in print or digitally in the weekly newsletter. These texts are sorted alphabetically, ranging from A for Amphetamine to N for Ne travaillez jamais to Z for Gen Z.
This publication is devoted exclusively to the metal works of Sidsel Meineche Hansen. Catalogued here is every cast, forged, and fabricated metal sculpture made since 2017. Poems by the artist Diego Marcon annotate and respond to the individual pieces.
This compelling artist’s book is built around KOOL (“cabbage” in Dutch), an original font designed by Reus, somewhere between a plant alphabet and concrete poetry. The publication draws on the type specimen book tradition to present new typefaces.
Through a rich selection of images, this artist’s book, published in two editions—gold and silver—explores the birth, life and death of Francesco Gennari’s work Vorrei perdermi e non trovarmi più, 2022, exhibited for the first time at the Ciaccia Levi Gallery in Paris.
Through a rich selection of images, this artist’s book, published in two editions—gold and silver—explores the birth, life and death of Francesco Gennari’s work Vorrei perdermi e non trovarmi più, 2022, exhibited for the first time at the Ciaccia Levi Gallery in Paris.
Edited by Yuvinka Medina, Bettina Schultz and Lap-See Lam
Texts by Stephanie Cristello, Mara Lee Gerdén, Yuvinka Medina, Svante Tirén, and Xiaoyu Weng.
Designed by Thomas Bush
2022, English, softcover, 188 pages, 21 x 28 cm
ISBN: 979-12-80579-25-6
The ubiquitous presence of Chinese restaurants overseas has long been the default and emblematic symbol of Chinese diasporic life. Chinese restaurants are the archetype of a constructed Chineseness meeting the nostalgic ideal of an ancestral homeland. In their many yet all so stereotypical incarnations, these places have acquired names that riff off a few words to embody an oriental experience: Lucky Garden, Mandarin City, Bamboo Palace, New Peking City, Crane Garden, Lotus, Ming Garden. Lap-See Lam puts herself—and us with her—in a relationship to the Chinese restaurants, challenging both the Western historical fascination and its fear by seeking out other realms. It would seem that at the heart of it all, Lam’s practice is guided by a simple question: What are the implications of something looking Chinese? This monograph accompanies Lam’s first institutional exhibition at Bonniers Konsthall.