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.
Between an artist’s book and a catalogue, this publication follows up on Armleder’s multidimensional exhibition at KANAL in 2020–21. Through archival pictures and in depth conversations, the book is designed to recreate the immersive experience of this collective experiment, and proposes a dive into something akin to a large self-portrait, conceived through the works of more than a hundred artists.
This artist’s book reflects Eva & Franco Mattes’ continued interest in the condition of displacement to be sensed in Fukushima. Borrowing the format of wrapping-paper catalogs, it contains twenty large pre-perforated sheets, each of which features a photographic texture—a seamlessly repeating motif captured by the camera amid the radioactive ruins of the contaminated towns and countryside.
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.
Edited by Gina Buenfeld-Murley and Martin Clark
Essays by Gina Buenfeld-Murley, Martin Clark, Leonie Radine, Géraldine Gourbe
Designed by Sara De Bondt
Published with Camden Art Centre, London; Frac Bretagne, Rennes, France; Kunsthalle Wien – Stadt Wien
Kunst GmbH, Vienna, and Museion – Museum of Modern and Contemporary Art, Bolzano/Bozen
2025, English / French / German / Italian, softcover, 240 pages, 20 x 26 cm
ISBN 979-12-80579-67-6
This fully illustrated 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.
With new scholarly essays translated into English, French, Italian, and German, and supplementary texts on major bodies of work, Nicola L. I Am The Last Woman Object offers novel perspectives on the artist’s practice from some of the exhibitions’ curators: Gina Buenfeld-Murley, Martin Clark, Géraldine Gourbe, and Leonie Radine. Together, they reflect on her life in Paris, Ibiza, Beirut, and New York, situating her within the politics and the social movements of her time. They also bring her work fully into the present by placing it in the context of the social, political, and ecological challenges facing the world today, thus enabling the resonance of her extraordinary practice to continue more than half a century after she began working. Taken together, the texts reveal Nicola L.’s remarkable and lifelong commitment to art, creativity, and radical subversion, presenting a long-overdue appraisal of a practice that straddled many movements and styles in twentieth-century art but resolutely defied categorization.
