Sculpture

Marlie Mul (b. 1980 in Utrecht, the Netherlands; lives and works in Brussels) is characterized by a strong material awareness, spatial thinking, and an ongoing engagement with conditions of labor, systems of value, and forms of collectivity. Her practice foregrounds a sustained interest in sculptural concerns, direct engagement with materials, and processes of layering, transformation, meaning and re-meaning across multiple levels of articulation. Central to this is a continuous process of familiarizing herself and working with new materials and practices, which are repeatedly extracted from their conventional contexts and expanded into new bodies of work. These are, in turn, accompanied and reframed by other materials as well as by more social formats of production and presentation. 

The first comprehensive monograph on Marlie Mul’s work is published on the occasion of her solo exhibition Das Budget (2025) at Kunsthaus Glarus. It offers a comprehensive chronological overview of key bodies of work from the early 2000s to the present and, through a richly illustrated index, unfolds a complex structure of contexts, collaborations, and modes of production. The publication includes new contributions by Annie Goodner, Lili Reynaud-Dewar and Frank Wasser, a dialogue between the artist and the editor, as well as numerous reprints of texts that have accompanied Mul’s work over the years, including writings by the artist herself.

Drawing has long been foundational to American painter Carroll Dunham's (born 1949) practice. In this collection of recent, never-before-shown works, we witness Dunham thinking about sculpture through a series of drawings produced over the course of a year. A sampling of his drawings across time offers a chart of his artistic evolution; the 80 drawings presented here are distinctive to a new page within that history. Spurred by a desire to explore the saggy, open-frame cubic boxes that he found himself doodling along the edges of a new series of paintings, Dunham began drawing fantasies of sculpture as a respite whenever he needed a break from working on the paintings. This turned into an ongoing practice that lasted until it unexpectedly segued into a material investigation with the making of sculpture in real space. Offering intimate access to Dunham's process, this book is the first to document his thinking about spatial relationships, presentation and materials for sculptures that don't exist.

Carroll Dunham has developed an extensive oeuvre since the late 1970s in painting, drawing, and printmaking. His work has been the subject of numerous solo exhibitions, most recently a drawing retrospective at the Art Institute of Chicago (2026), and presented in group exhibitions at institutions in the United States and abroad. He lives and works in Connecticut.

Over the past two decades, artist Germaine Kruip has steadily developed a practice, which merges time, space and perception. Like an anthropological stage director, she investigates, simplifies and presents her observations in a subtle manner often through architectural interventions. In each of these interventions, she changes a location into a stage, with the audience as actors in a play of substantive absence. By doing so, she activates both physical and mental awareness.

This publication presents an overview of the Kruip’s practice since 1999, two years prior to her engagement with the art context. Presenting over 40 works, the publication reflects on three periods in the artist’s practice, each accompanied by an essay contributed by Anna Gritz, Eva Wittocx and Stephanie Bailey. The idea of a catalogue raisonné came out of a conversation that followed Kruip’s ambitious project Geometry of the Scattering, which was presented at de Oude Kerk in Amsterdam in 2015 – 2016.

Greer Lankton’s iconic and startling doll sculptures as we have never seen them before: through her own eyes. 

Magic Hour Press is proud to present the first monograph on the trans visionary artist Greer Lankton (1958–96), whose lifelike doll sculptures shocked 1980s New York. Lankton’s dolls, which she began making as a child and produced obsessively until her death at age 38, were a means to explore her fraught relationship with the human body. In the book’s 100 photographs, all shot by Lankton herself, these figures take on a life of their own, kvetching at a party, strolling along a beach, or lounging on a stoop in the East Village. Among this extraordinary cast of oddballs—usually femme, often freakish, always radiating a glamorous confidence—we find characters of Lankton’s own invention alongside well-known icons such as Divine, Coco Chanel, Andy Warhol and even Lankton herself. 

Born in 1958 to a Presbyterian minister in Michigan, Greer Lankton moved to New York in 1978 and became a rising star of the downtown scene. There, her deviant elegance was immortalized in photographs by Peter Hujar, David Armstrong, and Lankton’s close friend Nan Goldin, who described her as “one of the luminaries of the East Village renaissance: beautiful, glamorous, wild and hysterically funny.” 

Edited by Francis Schichtel, Jordan Weitzman and Nan Goldin
Text by Hilton Als

This publication accompanying his most comprehensive exhibition to date exhibition is Jack O’Brien’s first monograph. Conceived by the artist himself, it complements the exhibition in both form and content, documenting his practice from 2021–2025 and transfers it into a different medium. Developed as an artist’s book it stands in direct relation to the magazine collages in the exhibition. The torn book cover, perforated paper pages, and a shoelace sealed under cellophane make the publication itself a sculptural gesture.

O’Brien negotiates themes such as staging, visibility, queer identity, and the circular dynamic between consumption, body, and performance. The title refers to the English “cue”—a theatrical cue—and at the same time to its repetition. This double meaning reflects O’Brien’s working method, in which material, form, and gesture continually oscillate between suggestion and withdrawal, presence and dissolution. O’Brien works with found and discarded objects, which he transforms through gestures of wrapping, binding, and perforation. His sculptures, installations, and collages use industrial materials such as cellophane, shrink wrap, and synthetic textiles.

The catalogue brings together the first substantial essays on O’Brien’s work. Alexander Wilmschen introduces the exhibition, in which chance becomes the driving force of reordering, and situates O’Brien’s work within the context of queer phenomenology. Kristian Vistrup Madsen examines the sadomasochistic dimensions of the work. Juliette Desorgues reads the sculptures as embodied punctuation. In conversation with Jeppe Ugelvig, O’Brien reflects on his artistic methodology and language.

The result is a monograph which also formally works with the moments of controlled instability that are so striking in the exhibition: floating, supported and warped.

Texts: Juliette Desorgues, Kristian Vistrup Madsen, Jack O’Brien & Jeppe Ugelvig (Interview) and Alexander Wilmschen

Conceived as a visual résumé, Installation Views provides both a comprehensive overview of Charlotte Posenenske's solo exhibitions and a record of her numerous group shows.

In her Manifesto, Charlotte Posenenske stated: "I find it difficult to come to terms with the fact that art can contribute nothing to the solution of pressing social problems."
Developing her artistic practice throughout the 1960s, Posenenske produced a body of work that uniquely combined several strands of the art of the period: conceptualism, minimalism, and socially engaged participatory art. Her Manifesto, published in Art International in May 1968, lays out the social demands on art as well as the impossibility of fulfilling those demands. Shortly after its publication, Posenenske left the art world behind to pursue her studies in sociology, undertaking a new career in that field.

Conceived as a visual résumé, Installation Views provides both a comprehensive overview of Charlotte Posenenske's solo exhibitions and a record of her numerous group shows. The book features an essay written by curator Erlend Hammer on the role of documentary photographs in the circulation of works of art. 

The book was published in conjunction with the eponymous show at the Haugar Art Museum in Tønsberg, Norway—the first full-scale presentation of the artist's oeuvre in Scandinavia. The exhibition showcased works from all the artist's major series of modular sculpture. Consisting of works made over the course of less than 12 months, between 1967 and 1968, preceding the abrupt end to Posenenske's career as an artist, the exhibition had the character of a snapshot. We are left wondering whether her withdrawal from the art world was a logical or necessary consequence of the development of the series. What are we to do with Posenenske's assertion that art is powerless to effectively change society for the better?

There are countless ways to interpret death, and The Jacuzzi of Despair does not aim to add to them. Instead, it fizzes, swirls, weeps, and sweeps—an unsettled current of images and arrangements, placing Sharon Van Overmeiren's sculptures within a strange narrative of mortality and rebirth. Born from a collaboration with graphic designer Nana Esi, the publication refracts Sharon's work through a series of familiar yet elusive aesthetic mechanisms: from the speculative and ritualistic to the archival and surreal, from the encyclopaedic urge to categorise, to the spectacle of commercial catchphrases. As such, The Jacuzzi of Despair navigates and distorts the symbolic structures by which we typically frame life and death, suggesting a new order wherein their ineffable dimensions do not stand apart but fold seamlessly into one another. What emerges is a disorienting artifact, a publication both buoyant and weighty, performing a slippery, playful, and evocative attempt to grasp the mechanisms by which we make sense of life—only to dissolve them into incoherence, creating the conditions for new meanings to take root.

Published on the occasion occasion at Cultuurhuis De Warande, Turnhout, in 2025.

Sharon Van Overmeiren (born 1985, lives and works in Belgium) makes, in her own words, "fictional sculptures". She finds it difficult to qualify them as fully autonomous pieces, given that at any moment they may cease to exist in their current form of presentation. On a second level, this choice of wording refers to how she lends a voice to her sculptures; by providing them with a scenario based on found stories, taken from life or literature, combined with her own sense of how we are out of touch with the multiple objects that surround us. The sculptures make their appearance as "props" in a composition, installation or drawing, or as protagonists of a video or audio piece. In no small part, these works deal with the growing inability of the human mind to describe and experience "things" beyond its own desires.

The catalogue of the Lebanese-American artist's first exhibition in Italy.

Over fifty years, Simone Fattal's multifaceted work has explored the impact of displacement as well as the episteme of archeology and mythology, drawing from a range of sources including war narratives, landscape painting, ancient history, and poetry. The artist imagery blends history with memory, grappling with the losses of time while revealing its repetitions. 

This book documents Fattal's first solo show in Italy titled A breeze over the Mediterranean at the Fondazione ICA, Milan, in collaboration with Pompeii Commitment. Archaeological Matters.

Texts by Alberto Salvadori, Andrea Viliani, Etel Adnan, Simone Fattal.

Simone Fattal (born 1942 in Damascus) is a Lebanese-American painter, sculptor and ceramist. After studying philosophy, first in Beirut and then Paris, Fattal returned to Beirut in 1969 and began life as a painter—creating sensuous abstract works that diverged from the predominantly figurative paintings commonly exhibited in Lebanon at the time. In 1980, after a decade spent in Lebanon as a painter, Fattal fled the civil war, abandoned her painting practice, and settled in Sausalito, California, where she founded the revolutionary publishing house Post-Apollo Press. In 1988, after studying sculpture in San Francisco, Fattal was consumed by another wave of creativity that led her to pursue ceramic sculptures—a medium in which she continues to work to this day from her studio in Paris.

This book brings together a selection of photographs by artist Mekhitar Garabedian, documenting the warehouse of his late father’s company, Melantex, which exported second-hand clothing from Belgium to the Middle East, Asia, and Africa. The images inspired a one-year sculptural intervention by Garabedian, commissioned by the Antwerp Public Art Collection.

Import—Export, Friperie tells a compelling personal and collective story of how displacement can be turned into economic livelihood while creating connections between old and new homes, languages, and textiles.

The photographs are accompanied by an in-depth conversation between Garabedian and curator Samuel Saelemakers about the relationship between photography and sculpture, public representation, and diasporic thinking.

A literary tribute to Sarah Lucas, at once an adroit art-historical study and a poetic travelogue.

“Distance is far, nobody said. (Somebody, surely.)” So begins Quinn Latimer's strange, elliptical account of an exhibition and a body of work by Sarah Lucas that the poet and critic has never seen, made and installed in a city she had not yet visited. In the spring of 2012 the renowned English artist's exhibition “NUDs” was mounted in Mexico City at Museo Diego Rivera Anahuacalli, the famed pyramid-like museum built by the muralist and architect Juan O'Gorman to house Rivera's approximately 50,000 Mesoamerican artifacts and objects. In the summer of 2012 Latimer found herself in Elba, the island of Napoleon's exile, where she embarked on this small, charged book. In four interconnected essays, the writer limns the myriad impressions, ideas, objects, personages, and histories relevant to Lucas's fantastically transparent yet complicated “NUDs,” and their storied making and installation in Mexico. Exploring shame, passivity, palindromes and fertility statuary, as well as notables including Antonin Artaud, Napoleon, Susan Sontag and Mary Wollstonecraft, Describe This Distance is at once an adroit art-historical study and a poetic travelogue, once or twice removed.

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.

A complete survey of the cast, forged, and fabricated metal sculptures made by Danish artist Sidsel Meineche Hansen since 2017.

The artist's practice addresses the industrial complex of virtual and robotic bodies and their relationship to labor in tech, pornography and gaming. While some sculptures were conceived as individual pieces, others were created with digital counterparts within installations that typically include CGI animation, documentary video, drawing and prints.

By presenting the metal works as stand-alone pieces, this book adheres to Meineche Hansen's concern with the material means of production, highlighting their concrete yet elusive nature. Several pieces in the publication are accompanied by poems written by artist Diego Marcon in response to the works. As an artist's project and an archival document, the publication echoes the tradition of documentary photography devoted to sculpture.

Sidsel Meineche Hansen (born 1981 in Denmark, lives and works in London) is a Danish artist. She produces exhibitions, interdisciplinary seminars and publications that foreground the body and its industrial complex, in what she refers to as a "techno-somatic variant of institutional critique". Meineche Hansen questions the body in the field of industrial representations: robotic or virtual bodies, and their relationship with the working world of industries of gaming, pornography, and new technologies. Her research-led practice has taken the form of woodcut prints, sculptures and CGI animations, often made by combining her own low-tech manual craft with outsourced, skilled digital labour.

Edited by Fredi Fischli and Niels Olsen.
Poems by Diego Marcon.

Les sculptures et les films de Judith Hopf sont alimentés par des réflexions sur les relations que les êtres humains entretiennent avec la production et la technologie. Pour Énergies, sa première exposition monographique en France qui eut lieu conjointement à Paris à Bétonsalon et au Plateau, Frac Ile-de-France, l’artiste s’est concentrée sur cet élément invisible dont la quête accompagne notre quotidien et nos activités, produit par la conversion de ressources naturelles en puissance. Ce catalogue réunit des reproductions de dessins inédits, un entretien avec l’artiste et un texte critique de Tom Holert qui fait retour sur vingt années de travail.

Judith Hopf's sculptures and films are fuelled by reflections on the relationship human beings have with production and technology. For Énergies, her first solo exhibition in France, held jointly in Paris, at Bétonsalon and Plateau, Frac Ile-de-France, the artist focused on this invisible element whose quest accompanies our daily lives and activities, produced by converting natural resources into power. This catalog features reproductions of previously unpublished drawings, an interview with the artist and a critical text by Tom Holert, looking back over twenty years of work.

Textes / Texts
- François Aubart, Xavier Franceschi et Émilie Renard, "À propos d’énergie, d’amour et de chansons : conversation avec Judith Hopf"
- Tom Holert, "Changements de rythme : La méthodologie énergétique de Judith Hopf"

- François Aubart, Xavier Franceschi et Émilie Renard, "On Energy, Love, and Songs: Conversation with Judith Hopf"
- Tom Holert, "Changing Pace: Judith Hopf’s Energetic Methodology"

Traduction / Translation
Jean-François Caro
Louise Ledour

Typesetting : Olivier Lebrun

Curator, art historian, writer Chus Martínez and writer and curator Filipa Ramos bring together a group of artists who have been using clay, pottery and ceramics to imagine, project and shape the world they live in.

Some may associate clay, pottery and ceramics to tradition, and tradition to the past. Some may associate technology, digital communication and data with the new, and the new with the future. What if the future is only a technology as old and unusual as clay? What if clay is a matter that renews itself constantly and gives time its unpredictable configurations?

What if clay is the future and the future is clay? And if the feet of clay only reveal a vulnerability because the rest of the body is made of a different material? And if the feet of clay are actually rooting people to the earth, connecting them through the same matter? And if feet of clay are a way to establish a post-technological communication that requires no webs, no networks, no cables; only our many, one, two, eight, twenty feet and some clay?

These are some of the questions and enigmas addressed by curators Chus Martínez and Filipa Ramos, who brought together a group of artists who have been using clay, pottery and ceramics in an exhibition entitled Feet of Clay, presented at Galeria Municipal do Porto in 2021. Like clay, the project has now been moulded into book format, bringing together exclusive texts and interviews with the participating artists: Neïl Beloufa, Isabel Carvalho, Gabriel Chaile, Pauline Curnier Jardin, Formabesta (Salvador and Juan Cidrás), Tamara Henderson, Ana Jotta and Eduardo Navarro.

Texts by Neïl Beloufa, Isabel Carvalho, Gabriel Chaile, Pauline Curnier Jardin, Formabesta (Salvador e Juan Cidrás), Tamara Henderson, Ana Jotta, Chus Martínez, Eduardo Navarro, Filipa Ramos.

A comprehensive overview of the vast production of monuments in socialist Yugoslavia (1945–91) dedicated to the antifascist People's Liberation Struggle in the Second World War and the socialist revolution.

Since the breakup of Yugoslavia in the 1990s, these monuments have been subject to various fates, from neglect and physical destruction to global fame generated by the high-modernist visual appeal of a number of them. But the full scope, wide-ranging diversity, and complex context of Yugoslav monument making, including its various contradictions, have remained largely unexplored.

The book offers a thorough and interdisciplinary exploration of this phenomenon and a rich visual material to examine its key characteristics and specificities: What memorial practices and commemorative traditions preceded the development of monument-making in socialism? Who commissioned these monuments and how did Yugoslav cultural and memory politics influence their production? Who were their authors and what defined their formal and typological features? How was Yugoslav monument production related to comparative efforts abroad? What commemorative practices developed around monuments? How is this legacy evaluated and received today, both in the post-Yugoslav successor states and internationally?

Contributions by Marija Đorđević, Sanja Horvatinčić, Heike Karge, Ljiljana Kolešnik, Vladimir Kulić, Bojana Pejić, Sabina Tanović, Beti Žerovc.

Machteld Rullens' second publication with Zolo Press documents three years of works, friends & family moments, and travels in Senegal, NYC, LA, and Vincent van Gogh's house…

"A friend told me my works are "warmly laconic" without becoming ironic or cynical. They show serious material research with humor and a dark side. In this book, I share my personal life and way of working. It might clarify my obsession with art, art history, the studio, travels I made, and the way I use my analog camera. My work has become more mature and I've turned a little grey myself. In the work I use all the possibilities of the box. Paint and surface become one. The cardboard is not a background that is separate from the paint. In this way, I expand my visual research, which I do not only as a painter but also as a sculptor. The pictures taken over the past years were made while spending time in a small village in Senegal, in Vincent van Gogh's house, my studio in The Hague, Los Angeles, Brussels, and my friend's place in Germany." — Machteld Rullens

Machteld Rullens (born 1988 in The Hague, Netherlands) works with sculptural elements that have a strong link with painting but are rarely applied with a brush. She uses everything that's available and that reflects her basic mood. That mood is a reflection of the time and of the world that, in spite of all its beauty, is overstimulated and possible even bored. Her wall objects, made from found cardboard boxes and epoxy resin, are full of emptiness. Rullens started painting on cardboard boxes when she ordered art supplies for the studio and noticed that the boxes could be tackled in a far more aggressive and impulsive way than for example a blanc canvas. She shapes and rearranges the cardboard boxes, something that was once fragile into something sturdy, relating to elements of play, composition, and architecture.  

The publication is the first institutional monograph on the multimedia practice of artist and director Ali Cherri. It aims to highlight the constellation of ideas, themes, and formal concerns running through his most recent, highly significant projects.

Edited by Alessandro Rabottini and Leonardo Bigazzi, with Bianca Stoppani, this book provides an overview of the artist's output over the past three years, teasing out both new strands for interpretation and formal links between his films, videos, sculptures, drawings, and installations.

Texts by: Cecilia Alemani, Erika Balsom, Étienne Bernard, Leonardo Bigazzi, Ali Cherri, Lorenzo Giusti, Stefanie Hessler, Priyesh Mistry, Alessandro Rabottini, Stefan Tarnowski.

Video and visual artist Ali Cherri (born 1976 in Beirut, lives and works in Paris and Beirut) received a BA in graphic design from the American University in Beirut in 2000, and an MA in performing arts from DasArts, Amsterdam, in 2005. His current project looks at the place of the archaeological object in the construction of historical narratives.

Moulded from clay, between 2021 and 2023, The subtle rules the dense is a series of ceramic chest plates, by the artist Phoebe Collings-James. Inspired by Makonde and Yoruba body masks and Roman muscle cuirasses, the sculptures explore the interplay between ritualistic objects’ violent histories and their contemporary presentation as fetishistic ornaments. This publication brings together responses to the series from artists SERAFINE1369 and Rehana Zaman and geographer Professor Kathryn Yusoff; exploring layered references to tarot, Shakespeare and post-colonial theory; probing the materiality and extractive politics of geology; and reflecting the plural multifaceted nature of Collings-James’ practice.

A series by Phoebe Collings-James

With Texts by Serafine1369, Rehana Zaman, Kathryn Yussof.

Fake Calligraphy is a mobile sculpture consisting of a simple set of metal frames, batik, and tools that are used in repeated collective performances. The sculpture serves as a workshop where patterns based on pseudo-writing are collectively produced. The publication documents a joint making process along with some of the techniques that are applied here, such as dyeing with natural dyes and wax batik.

Fake Calligraphy is an ongoing work made by many participants, developed and facilitated by Ada Van Hoorebeke, Maartje Fliervoet, and the artistic platform manoeuvre. Amongst other places Fake Calligraphy was performed and shown at WIELS Contemporary Art Centre, Brussels, Kunsthal Gent, (Ghent) and at homes and studio’s of contributors in Ghent, Serekunda, Brussels, The Netherlands, and Berlin.

This collection of the correspondence between artist Rosemary Mayer (1943-2014) and poet Bernadette Mayer (born 1945) occurs between the years of 1976 and 1980, a period of rich creativity in New York's artistic avant-garde, and one which includes the development of major bodies of work by the two women.

Rosemary Mayer was creating sculptures, watercolors, books and temporary monuments from weather balloons and snow, while Bernadette Mayer was working on some of her best-known publications, including the book-length poem Midwinter Day and the poetry collection The Golden Book of Words.

Spanning the worlds of Conceptual art, Postminimalism, feminism, the New York School, Language poetry and more, these letters elucidate the bonds of sisterhood through intimate exchanges about art, relationships and everyday life.