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.
Texts by Flavia Frigeri and Alexandra Kleeman
Design by Lorenzo Mason Studio
2022, English / Italian, softcover, 24 x 32 cm, 96 pages
ISBN 979-12-80579-37-9
Published in conjunction with Mirages—the first solo show in Italy by American artist Jenna Gribbon, who has conceived it specifically for the Collezione Maramotti’s Pattern Room—the book showcases a wealth of images and essays by art historian and curator Flavia Frigeri and by writer Alexandra Kleeman.
Gribbon often depicts the people closest to her: her friends, her son, her partner, her fellow artists. Her paintings capture the intricacies and dynamics within these relationships while addressing the implications surrounding seeing and being seen. The central subject of the works in the exhibition is the artist’s partner, musician Mackenzie Scott (aka TORRES). Gribbon’s protagonist is portrayed in vivid colours and fluid, sensual brushstrokes that make the surroundings almost merge with her body—a body that is reflected, moulded, perused, made larger than life—experimenting with scale and compositions that are entirely new for the artist.
While in the larger paintings the visual energy of these images radiates from a distance—their forms becoming almost abstract as one approaches the surface of the canvas—the smaller works demand proximity, a personal movement towards and into the work in order to grasp its details and narrative.
As unique portrayals of a female universe where beauty and pleasure are political tools for demolishing patriarchal and heterosexual structures, her works engage viewers as active participants in complex relationships of the gaze.