Conceived as a catalogue and an artist’s book, the publication offers a deeper insight into the eponymous 2022 exhibition staged at Indipendenza Roma, and explores tensions that can be generated between artworks and their surrounding architectural context, raising questions of taste, value, function and decoration.
The practice of Tomaso Binga (Bianca Pucciarelli Menna, 1931) toys with the notion of gender, reconsidering women’s social roles and rights. This monograph, edited by Eva Fabbris, Lilou Vidal, and Stefania Zuliani, analyses her work through various languages and features a selection of poems, highlighting the author’s critical and artistic approach.
In her work, Cally Spooner crystallizes an absurd contemporary ecosystem in which entities run the risk of managing themselves and one another to death. Featuring newly commissioned essays alongside a lecture by Spooner, SWEAT SHAME ETC. is the first comprehsive survey of the artist’s output of the last five years.
This new anthology brings together visions, experiences and critical interdisciplinary methodologies that have been instrumental in the development of the language of moving images since 2010. New essays and conversations reflect on radical technological and poetic transformations in the works of the generation of digital native artists.
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.
At 500 pages, this is the most comprehensive book yet on Norwegian artist, Ida Ekblad. Appearing three years after the artist’s show at Kunsthalle Zürich, Melted Snow took certainly a long time—all the time is takes to ponder fifteen years of the artist’s career.
Edited by Melanie Bühler
Contributions by Marie Angeletti, Karen Archey, Ute Meta Bauer, Melanie Bühler, Simnikiwe Buhlungu, Harry Burke, Ann Demeester, Clémence Lollia Hilaire, Frima Fox Hofrichter, Andrea Fraser, Simon Fujiwara, Sofía Hernández Chong Cuy, Alex Kitnick, Lynne Kouassi, Erik van Lieshout, Lloyd Corporation, Sven Lütticken, Daniel Morgenthaler, Marlie Mul, Becket MWN, Grace Ndiritu, D’Ette Nogle, Ahmet Öğüt, Ima-Abasi Okon, Monilola Olayemi Ilupeju, María Inés Plaza Lazo, Bea Schlingelhoff, Hito Steyerl, Juan Uribe, Dena Yago
Designed by Sabo Day
Co-published with Frans Hals Museum
2022, English, softcover, 21 x 29,7 cm, 288 pages
ISBN 979-12-80579-10-2
We live in a moment in which institutions, including those central to the art world, are facing a surge of public scrutiny. Propelled by social media, profound questions about how institutions operate—whether structurally, politically, or financially—have become an increasingly prominent part of public life and discourse in recent years.
In this context, The Art of Critique revisits the artistic practice of institutional critique to ask what it means today, and to consider its ability to respond to the urgent social, political, and economic issues of our time. Taking works by Tracey Emin, Andrea Fraser, and Sarah Lucas in the collection of the Frans Hals Museum as a departure point, The Art of Critique uses a feminist approach to broaden and challenge traditional art historical definitions of institutional critique. These expanded forms of critique function as precursors to the practices of the contemporary artists presented as part of this project. Collectively, the contemporary works shed a new light on the legacy of institutional critique while addressing structural issues as wide-ranging as labor practices in the creative industry, city development, gender inequality, and the intertwined histories of capitalism and colonialism.
The publication documents the long-term project at the Frans Hals Museum (2019–22)—a symposium, Color Critique (chapter one); an exhibition, Image Power (chapter two: Image Critique); and artist commissions (chapter three: Structure Critique)—together with artworks, conversations, and newly commissioned and translated essays.
The publication has been generously supported by Outset Contemporary Art Fund Netherlands and VriendenLoterij.