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Lin May Saeed
"German artist Lin May Saeed (b. 1973) grapples with the complex entanglements of humans and animals. Her work centers on the nonhuman animal and revisits, revises, or outright invents stories of animal subjugation, liberation, and harmonious cohabitation with humans, combining historical, mythical, and theological narratives with materials such as paper, steel, and Styrofoam. This latter material-easy to acquire and work, yet environmentally violent-receives particularly sustained attention. Empathy, humor, and lightness of touch combine with a radical reimagining of everyday life and a sense of how animality is intertwined with otherness. The catalogue surveys Saeed's formation, work, and thinking, positioning them within a broader discourse on animals and animality in art and culture. Its title suggests the appearance of animals in humans' modern moral consciousness, simultaneous with their departure in the current era of mass extinction"--
Lin May Saeed
"For the past fifteen years, Lin May Saeed (b. 1973, Germany) has focused on the lives of animals and human-animal relations. With empathy and wit ,she tells stories, both ancient and modern, of animal subjugation, liberation, and cohabitation with humans, working toward a new iconography of interspecies solidarity. On the occasion of her first museum solo exhibition, this catalogue illustrates Saeed's drawings, paintings, and sculptures in materials such as paper, steel, and polystyrene foam. It includes two interpretive essays on the artist, Saeed's own writings, and a previously untranslated text on animality and otherness."--
Pedro Barateiro: Just a Wound
I?ve made these drawings in silence while the city was noisier than ever. I?ve been looking at my phone in silence while everyone in it is screaming. Well, sometimes the drawings were made with some people in the room, sometimes I spoke while making them. The phone just witnessed everything, lurking, listening and breathing, recording every action. I don?t think too much while taking these photographs. It?s a reaction to the environment, it?s about temperature, the climate, the water used to mix pigments, the humidity in the air, but also the pollution, the excavation in me, my data. It?s a way of working with the body. It?s about refusing a definition. Dance movements made by these hands, all the gestures they animate. The drawings are like an open wound, an autopsy. They reflect, just like the mirror on the phone.
Shannon Ebner
Like musical scores, the text-based works of Los Angeles-based artist Shannon Ebner (born 1971) literalize and make visible the intervals and suspensions inherent in language. Her alphabets explore language's "other"--hovering presences like silence, nonverbal communication, misspellings, handwriting--and emphasize what written language commonly represses or takes for granted in order to function. But the mechanical processes of language break down under Ebner's close scrutiny; text and language are revealed as eminently physical, concrete manifestations of supposedly immaterial ideas. In her new artist's book, Strike, Ebner slows down the pace of reading to its zero degree--one letter, one page. With each letter looming as a monumental, monolithic symbol, Strikefosters a reading experience akin to our first decodings of the written word, when we started, as children, to learn how to do things "by the book."
Pope.L: Campaign
This book is a three-part report on the long-term collaboration between artist Pope.L and curator Dieter Roelstraete which revolves around issues of connectedness, home, and migration, while addressing art's relationship to knowledge. Begun in spring 2016 with an invitation, extended to the artist by Roelstraete and his colleagues Monika Szewczyk and Adam Szymczyk, to participate in the fourteenth edition of documenta, Pope.L's contribution took on the guise of an immersive, seemingly omnipresent sound installation titled Whispering Campaign, consisting of thousands of hours of whispered content-addressing nationhood and borders-broadcast throughout Athens and Kassel using both speakers and ...
Time Has Fallen Asleep in the Afternoon Sunshine
Artists and theorists reflect on a "living library" project--people who memorize and recite books This book documents a project in which a group of people memorize a book of their choice, forming a library of "living books."
Robert Filliou
This is the first substantial English-language overview on the legendary '60s Fluxus artist and poet Robert Filliou (1926-87). With illustrations of nearly 192 works, it also features the transcript of an extensive conversation between Filliou and the Brussels-based art critic Irmeline Lebeer, recorded on seven cassette tapes in August 1976 in Flayosc in southern France. This conversation is structured as an abécédaire and touches on a variety of topics pertaining to Filliou's art and thinking, from amitié (friendship) to zen. This conversation was intended to form the backbone of an extensive monograph but was never published--until now. Robert Filliou: The Secret of Permanent Creationilluminates the mind and the practice of this massively underpublished artist, whose influence on subsequent generations has been both clandestine and colossal.
Simon Moretti: Crocodile Cradle
Crocodile Cradle' is an exhibition by Simon Moretti developed on three platforms: a filmed performance online; a text collage on the glass facade of PEER gallery, London; and a book. For this collaborative project, artist Simon Moretti invited fifty-one artists to supply a text that they had written or found, to be considered as part of a collaborative artwork to represent their thoughts in the current charged moment in history. The book, co-published with PEER, features an afterword by Ingrid Swenson and has been designed by A Practice For Everyday Life.00Exhibition: PEER Gallery, London, UK (02.09.2021) (book launch).
Pati Hill: Letters to Jill
A reprint of American writer and photocopy artist Pati Hill's 1979 book outlining her methodology to her gallerist Pati Hill (1921-2014) is best known for her observational writings and works made using an IBM photocopier. This reprint of her 1979 book explaining her methodology to her New York gallerist, Jill Kornblee, is published for her first posthumous solo exhibition at Kunstverein München.
