Rubbings Catalogue 1984-2016

Since the late 1970s Matt Mullican has developed a practice of performing under hypnosis that extends from his investigations into representation and subjective projection, and from his efforts to “enter the image” and embody a fictional character, a body of work that offers an exceptional perspective on repetition and renewal in performance practice.

This book is the outcome of an extensive research project into Mullican’s hypnosis performances, undertaken within the frame of If I Can’t Dance’s Performance in Residence programme with invited researcher Vanessa Desclaux, and a two-day Class of Masters with Mullican on character construction. Desclaux takes up the question of personification in light of her analysis of Mullican’s hypnosis performances. A selection of Mullican’s photographs and works on paper are reproduced in this book.

A portrait of the cohesive community of women artists in Frogtown, Los Angeles, including Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner.

The Glover Group: A Los Angeles Story narrates the journey of an extraordinary group of artists who have nurtured their unique artistic voices within the same studio complex in Frogtown, Los Angeles. The Glover Group includes Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner, a coincidental yet cohesive community of women artists sharing a unique bond through their interconnected workspace.

This catalog, designed to document their collaborative exhibition held at MASSIMODECARLO in Milan during July and August 2023, features interviews to the artists by Cecilia Alemani, Alison M. Gingeras, Justine Ludwig, Marta Papini, and Heidi Zuckerman, together with photographs by Tracy Nguyen.

Contributions by Ruby Neri & Alison M. Gingeras, Hilary Pecis & Cecilia Alemani, Megan Reed & Marta Papini, Lily Stockman & Heidi Zuckerman, Austyn Weiner & Justine Ludwig.

The moral tale is a literary genre that was especially popular in Europe throughout the 18th century. As ways of being and doing were strongly tied to conventions assigned to social roles and genres, the rise of rationality and freethought, characteristic of this era, began re-organizing the so-called “natural order” of established patterns. Through fables and satires, moral tales expressed sharp critical views on the social relationships and hierarchies of the time, often using radical irony and cruelty, as in the tales of Jonathan Swift or of the Marquis de Sade, to decipher the untold rules at play in this early age of capitalism.

The works of the three artists invited to these Three Moral Tales are not that of moralists, but somehow assume a kind of moral dimension, as they present themselves as critical allegories. Joëlle de La Casinière, Ana Jotta and Anne-Mie Van Kerckhoven make use of fables and sometimes caricatures to observe and criticize the cruelty of human relationships. The “moral tales” narrated by these three artists scrutinize representations of evil, and mock hierarchies, traditions and social order. By doing so, they also follow up on a certain spirit of the iconoclastic avant-gardes of the early 20th century.

French artist Joëlle de la Casinière, Portuguese Ana Jotta and Flemish Anne Mie Van Kerckhoven have in common to pay no fealty to trends of contemporary art. Moreover, they fought unwaveringly throughout their respective careers the need to see their work being given an “official line”. Instead, they stood aside, went underground or remained indifferent to the twists and turns of the art market and institutions. They sometimes created surrogate characters, hid, or playfully modified their names to react to the branding of identity in the artworld, and to the imposed marginalization that they had to cope with as women artists, as did artists living in peripheral geographies. In a way, paradoxically, being marginalized encouraged a calculated versatility of media and styles, and the invention of an idiosyncratic vocabulary, while total freedom remained their one and only rule.

This publication features a project by Leone Contini looking into the canned food available during the war of Caporetto in 1917 and especially its iconography. It brings together an essay by the artist along with reproductions of a selection of his drawings.

Leone Contini (born 1976 in Florence) studied philosophy and cultural anthropology at the University of Siena. His research unrolls at the intersection of anthropology, aesthetics and politics and his mediums include lecture-performances, collective interventions in public spaces, textual and visual narratives, drawings. His research is focused on intercultural frictions, conflict and power relations, displacement, migrations and diasporas, aiming to investigate, to question and to re-shape identity patterns and power relations.

Text by Eleanor Ivory Weber
Published by Forlaget emancipa(t/ss)ionsfrugten
Edited and produced by Eller med a △ Åbäke 
Edition: 200 ex. 
Format (b*h): 20 * 26,5 cm
Pages: 48 sider 
Print: Grafiche Veneziane
Paper: Munken Pure 170g
Typeface: Base12 by Zuzana Licko

More info at https://www.cecilieskov.com/Works/Wet-With-Dew

Evol/Love is a project in three parts: a billboard series, installation and publication connecting 160 subtitled movie stills that all contain the word Love.

A collage of voices and definitions arranged in alphabetical order, from ‘Love is where you find it’ (A: A Date with Judy, US 1948, 00:22:37) to ‘But even if it’s a little late, love has a way of coming back to you’(Y: Yeonae/Love is a Crazy Thing, KR 2005, 01:38:02), but read backwards to sound like its antonym: evil.

Self-published: Stichting Mei, Amstelveen, NL 2020
19,6 x 19,6 x 2,3 cm
200 pages, 160 images
Japanese bound, buckram cover with flaps
Offset on pink paper (interior), screenprinted buckram (cover)

Graphic Design Vilmantas Žumbys, Vilnius

Edition of 666 copies