Invitata a concepire una mostra alla Galleria Borghese, l’artista keniota-americana Wangechi Mutu ha sviluppato un approccio innovativo allo spazio museale, confrontandosi con le gerarchie, la permanenze e le sedimentazioni del contesto. Attraverso saggi approfonditi e una ricca selezione di illustrazioni, questo catalogo ripercorre la mostra ed esplora i temi e le preoccupazioni che da tempo caratterizzano la pratica dell’artista.
A visual notebook of the screenshots taken by Yngve Holen over the past five years or so, 6G—the anticipated next phase of network technology—is a peculiarly sized artist’s book, a glossy non-linear agglomeration that reflects the intersections of production, life, and digital debris.
Conceived as a visual résumé, the book provides a comprehensive overview of Posenenske’s solo exhibitions and a record of her numerous group shows. Featuring an essay by curator Erlend Hammer on the role of documentary photographs in the circulation of works of art, it was published in conjunction with the eponymous show at the Haugar Art Museum in Tønsberg.
Since the 1980s, Belgian artist Sigefride Bruna Hauman has created a highly original body of work in different media. Her installations, reliefs and videos are the subject of a much-overdue retrospective organized by M Leuven—and of this first monograph.
Rituals of Care is an extensive monograph devoted to the work of Antonio Obá, published in conjunction with his eponymous exhibition presented at the Centre d’Art Contemporain Genève, curated by Andrea Bellini. Extensively illustrated, the book immerses the reader in Obá’s multifaceted oeuvre and in the magical iconographic universe of his paintings.
Edited and with an essay by Pavel Pyś
Designed by Lorenzo Mason Studio
2024, English, softcover, 22 x 28 cm
ISBN: 979-12-80579-49-2
Conceived as a catalogue and an artist’s book, the publication was made on occasion of the eponymous 2022 exhibition at Indipendenza Roma. Deeply responsive to the space, the exhibition brought together works by Louise Lawler and Fredrik Værslev to explore the tension between an artwork and its surrounding architectural context, spurring questions of taste, value, function, and decoration.
Louise Lawler’s incisive practice brings to the fore the very means by which value and significance are conferred upon artworks. Her critical strategies reveal the mechanisms by which art is produced, reproduced, consumed to question how we understand issues of authorship, connoisseurship, and meaning. Through emblematic interventions belonging to the series Tracings (2013-present), Adjusted to fit (2010-present), and Paperweights (1988-present) within Indipendenza’s rooms, that once served as an apartment, Lawler’s works draw our attention to how we organize and present our lives to others.
Deeply invested in the relationship between painting, architecture, and both urban and suburban environments, Fredrik Værslev’s serial practice reflects on the conventions, styles, and limits of abstract painting. For this exhibition, Værslev has created a series of site-responsive paintings (2021-22), which are sized to match the doorway dimensions and informed by the palette, materials, texture, and imagery that characterize Indipendenza’s spaces. These trompe l’oeil terrazzo paintings mimic the pattern and treatment of the gallery floor designs, yet are marked with drips and swirls suggestive of the ceiling frescoes that interrupt the all-over treatment, playing on the tension between background and foreground, function and decoration, real and faux.
Seen together, works by Lawler and Værslev point beyond their own limits, drawing our eyes to their surrounding spaces, asking how an artwork’s context can frame its meaning and vice versa.
