A volume assembling new and existing documents that revisit, mix and remix moments in the work of artist Christian Nyampeta.

The volume is composed of affections, alliances, appearances, material, and memories that exceed singular authorship, in the form of dedications, documents, elegies, film stills, footnotes, photographs, poetry, presences, and translations. Together they draw a biography of research: the journeys of engaging with art learning and making in, with, and against the worlds of today.

This stream of existing documents is sequenced alongside new contributions by Omar Berrada, Binna Choi, Belinda Kazeem-Kaminski, Natacha Nsabimana, and Isaïe Nzeyimana.

The publication emerges from a close collaboration with GfZK (Galerie für Zeitgenössische Kunst, Leipzig) over the last three years. During this time, two projects were held at GfZK: A Flower Garden of All Kinds of Loveliness without Sorrow, 2018–2019, and Lovers in a Dangerous Spacetime, 2021.

Literature, history, theology and philosophy, as well as insights from experiences and encounters in practice between contemporary art and design percolated into the two exhibitions; public programs; and an ongoing scriptorium, in which the artistic works staged gatherings of artists, theorists and mythologists from Rwanda and further afield who would otherwise never meet.

Titled Togetherward, a word invented by philosopher and artist Denise Ferreira da Silva to describe the rhythm of Nyampeta's method, the volume preludes a series of publications in images, writing, sound, film, and musical recordings that revisit the layers and sediments of the global events of the previous decade—all driven by the burning question of how to live together.

Edited by Vera Lauf and Christian Nyampeta.

Chronicling an epic multimedia project 10 years in the making, A.K. Burns' first monograph grapples with climate change, community and sociopolitical agency

Deploying science fiction, material feminism, eco-anarchism, queer theory and technoscience, New York-based artist A.K. Burns (born 1975) explores the fraught relationships between humanity and nature in an epic multimedia work, Negative Space (2015-23). This nonlinear allegory provokes questions about marginalized bodies, environmental fragility and technology. Developed as a cycle of four video installations, Negative Space imagines new relationships to the spaces we occupy and the impact of our bodies in these spaces through imagery, research and critical and creative writings. Set in a speculative present, the tetralogy envisions a new materialist cosmology wherein hierarchical relations are transformed.

Edited by Karen Kelly and Barbara Schroeder
Text by CA Conrad, Mel Y. Chen, Aruna D’Souza, Megan Hicks, Simone White, and a conversation between the artist and Karen Archey

Le cinquième numéro de la revue d'art et de recherche « rétro-prospective » est consacré à l'artiste et performeuse Andrea Fraser, figure clé de l'art des années 1990 et 2000 et du courant de la « critique institutionnelle » (une monographie complétée par une grande enquête sur l'espace critique réalisée auprès d'une cinquantaine d'artistes, critiques et philosophes internationaux).

Avec contributions de Kader Attia, Eva Barto, Sophie Bonnet-Pourpet, Marie de Brugerolle, Gregory Buchert, Daniel Buren, Marie Canet, Gregory Castéra, Inès Champey, Thierry Chancogne, Claire Fontaine, François Cusset, Judith Deschamps, Paul Devautour, Philippe Durand, Joao Enxuto & Erica Love, Andrea Fraser, Nicolas Frespech, Dora García, Romain Grateau, Emmanuel Guez, Thomas Hirschhorn, Aliocha Imhoff & Kantuta Quirós, Béatrice Josse, Franck Larcade, Ju Huyn Lee, Sven Lütticken, Fabrice Mabime, Bartomeu Mari, Chus Martínez, Gwenael Morin, Claire Moulène, Jean-Luc Moulène, Yan Moulier Boutang, Vincent Normand, François Pain, Gerald Petit, Anne Querrien, Thierry Raspail, Sinziana Ravini, Delphine Reist & Laurent Faulon, Christophe de Rohan Chabot, Phillippe Roux, Jean-Baptiste Sauvage, Thomas Schlesser, Ida Soulard, Fabien Steichen, Michel Surya, Emmanuel Tibloux, Vier 5, Ulf Wuggenig, Italo Zuffi.

A scrapbook on Baillie's life and career, with stills, ephemera and writings by filmmakers across generations.

This is the first book on the West Coast avant-garde filmmaker Bruce Baillie (1931-2020), famed for the films Mass for the Dakota Sioux (1964), Castro Street (1966) and All My Life (1966) and for his influence on directors such as George Lucas (one of Lucas' charitable foundations helped fund the digital transfer of Baillie's films) and Apichatpong Weerasethakul. Alongside stills from Baillie's films, the book fosters a dialogue between Baillie and filmmakers and writers across several generations, including experimental filmmaker Peter Hutton, filmmaker and anthropologist J.P. Sniadecki and Jonas Mekas, along with suites of images by the Thai director Apichatpong Weerasethakul, British artist and experimental filmmaker Ben Rivers and Brazilian artist and filmmaker Ana Vaz, among others. Reproductions of correspondence and other ephemera are also included.

First monograph of the Franco-Iranian artist.

This monographic catalogue looks back over the first 15 years of work by Iranian artist Elika Hedayat through more than 110 reproductions. Two of these are on a 1:1 scale, and a detailed set offers a comparison of the dimensions of the works in relation to each other.

Françoise Docquiert introduces the issues at stake in her practice with an essay, complemented by an interview with Joana P.R. Neves.

"Elika is a Parisian-Iranian artist. This cultural blend  is  slightly  ironic  though  very  significant, as it nourishes her artistic work and practice. Inspired by her childhood, her life, and the violence in her native country, she makes films, videos, and drawings always filled with beauty, scathing humour and cruelty." - Annette Messager

Born 1979 in Tehran, Elika Hedayat lives and works between Paris and Tehran. Arriving in France in 2004, she was admitted to the École Nationale Supérieure des Beaux-Arts in Paris in Annette Messager's studio, from wich she graduated with the Jury's congratulations in 2008.

For her works, Elika Hedyat often uses testimonies and experimental documentaries stage in a dreamlike and imaginary universe. Her stories are contemporary and her characters are real. All of her works revisits historical references, transferring them to the field of personnal experience, mainly using the various possibilities of her repertoire as a narrative document and memory retrieval tool. Reality, memory and imagination come together in a personal story under different forms : drawing, video, documentary, painting and performance. 

Text by Françoise Docquiert.
Interview with Elika Hedayat by Joana P. R. Neves.

Dear Jean Pierre collects David Wojnarowicz’s transatlantic correspondence to his Parisian lover Jean Pierre Delage between 1979 and 1982. Capturing a truly foundational moment for Wojnarowicz’s artistic and literary practice, these letters not only reveal his captivating personality—and its concomitant tenderness, compassion, and neuroses—but also index the development of the visual language that would go on to define him as one of the preeminent artists of his generation.

Through this collection, readers are introduced to Wojnarowicz’s Rimbaud series, the band 3 Teens Kill 4, the publication of his first photographs, his early friendship with Peter Hujar, his participation in the then-emerging East Village art and music scenes, and the preparations for the publication of his first book. Included with these writings are postcards, drawings, xeroxes, photographs, collages, flyers, ephemera, and contact sheets that showcase some of the artist’s iconic images and work, such as the Burning House motif and Untitled (Genet, after Brassai).

Beyond these milestones, the book offers a striking portrayal of Wojnarowicz as a twenty-something, detailing his day-to-day life with the type of unbridled earnestness that comes with that age and the softness of love and longing. This disarming tenderness provides a picture of a young man just beginning to find his voice in the world and the love he has found in it.

Although the two exchanged letters in equal measure, Delage’s correspondences have largely been lost, leaving us with only a revelatory glimpse into the internal world of Wojnarowicz during what turned out to be his formative years.

David Wojnarowicz (1954-1992) was born in Red Bank, New Jersey. Wojnarowicz channeled a vast accumulation of raw images, sounds, memories and lived experiences into a powerful voice that was an undeniable presence in the New York City art scene of the 1970s, 80s and early 90s. Through his several volumes of fiction, poetry, memoirs, painting, photography, installation, sculpture, film and performance, Wojnarowicz left a legacy, affirming art’s vivifying power in a society he viewed as alienating and corrosive. His use of blunt semiotics and graphic illustrations exposed what he felt the mainstream repressed: poverty, abuse of power, blind nationalism, greed, homophobia and the devastation of the AIDS epidemic. Wojnarowicz died of AIDS-related complications on July 22, 1992 at the age of 37.

Pippa Garner’s Better Living Catalog, originally published in 1982, takes the form of a mail order catalog featuring clever and whimsical inventions that parody consumer goods while simultaneously critiquing America’s obsession with ingenuity, efficiency, leisure, and comfort. These works, which were made as prototypes and photographed for the publication, take the form of improbable accessories, clothing, footwear, home appliances, and office gadgets.

For example, the “Reactiononometer,” a portable wristband, instantly measures social success, while the “Digital Diet Loafers” display the wearer’s weight with every step. If the “Munch-o-Matic” reduces deskwork interruptions by flinging a snack right into the user’s mouth, other items promise financial solvency (the controlled cash flow “Autowallet”), sustainable waste management, or mess-free companionship (the “Pet-a-Vision” TV console). The artist asserts that all of the products in the book are “absolute necessities for contemporary survival.”

The Better Living Catalog was a pop hit when it was published, earning Garner spots on nighttime TV talk shows and attention from magazines like Vogue and Rolling Stone. In a meme-filled culture, the works still resonate today, finding their analog in widely-circulating consumer products, and—in the case of the “High Heel Skates”—even appearing unattributed in the runway collection of a major luxury fashion brand.

A few years after the Better Living Catalog was published, Garner began her gender transition, which she has characterized as an artistic project that draws conceptual parallels to the altered consumer goods she has continued to create since the 1970s. The artist’s practice has always been about hacking—gender hacking, she stated, was “an excellent premise for maverick conceptual art and diametrically opposed to anything I’d ever done.”

Many of the prototypes Garner created for the publication were repurposed or recycled, making this previously rare gem of an artist book one of the artist’s few works to now be widely available.

Born in 1942 in Evanston, Illinois, Pippa Garner (formerly known as Philip Garner) began her practice in the late sixties as a member of the highly regarded Transportation Design department at ArtCenter, California, with plans to become a car stylist, and was drafted to Vietnam to serve as a combat illustrator. In the mid-80s, Garner began her gender transition, which she considers a conceptual artwork, marking an extension of her practice from twenty years of altering cars, garments, and consumer products to using her own body as raw material. Garner appeared on the Tonight Show Starring Johnny Carson and other talk shows, showcasing her satirical consumer product inventions, and her artwork has been featured in Car & Driver, Rolling Stone, Arts & Architecture, and Vogue, among other publications. In the 1980s, her performance, design, and video work was exhibited in institutions including the Los Angeles Institute of Contemporary Art; Whitney Museum of American Art; and Museum of Contemporary Art, Los Angeles; since 2015, she has had exhibitions at STARS, O-Town House, Redling Fine Art, and Parker gallery in Los Angeles; Jeffrey Stark in New York; JOAN, Los Angeles; Kunstverein München; 49 Nord 6 Est – Frac Lorraine, Metz; Kunsthalle Zurich; and Art Omi, Ghent, New York. She is the author of three other books: Utopia… or Bust! Products for the Perfect World (1984), Garner’s Gizmos & Gadgets (1987), and the zine Beauty 2000 (1992/2021).

'Inserts in Real Time' is the first monograph on the performance work developed by artist Dora García over the past twenty years. The book contains a conversation between the artist and curator Joanna Zielińska; a selection of her performance scripts; her performances to date, listed, illustrated, described, and contextualized; and three newly commissioned texts – by art historian Sven Lütticken, performance theorist Bojana Cvejić, and Dora García. The publication is co-published with M HKA, Antwerp, and accompanies Dora García’s exhibition 'She Has Many Names'.

Published by Courtisane festival in collaboration with Open City Documentary Festival, Alia Syed: Imprints, Documents, Fictions (ed. María Palacios Cruz) is the first monograph to be devoted to Syed’s work and features new essays by Jemma Desai, Inga Fraser, Peter Gidal, Rahila Haque, Salima Hashmi, Anjana Janardhan, Ruth Noack and Henrietta Williams, as well as writing by Syed herself.

First monograph in French: from Rod Stewart to the Industrial Revolution, Art is Magic collates all of acclaimed artist Jeremy Deller's cultural touchstones into one lovingly curated volume, balancing these artistic inspirations with examples of Deller's visionary work.
 
Published on the occasion of the exhibition Jeremy Deller: Art is Magic at Frac Bretagne, Musée des beaux-arts and La Criée art center, Rennes, in 2023.

Texts by Jeremy Deller; interview with Jeremy Deller by Daniel Scott, Alan Kane, Mary Beard, Jonny Banger, Cheerio. Translated from the English by Sandra von Lucius.

This first publication of the artist Melike Kara, emphasises her work of the last two years and thus on a specific body of work that represents a shift in the artist’s methodology.

Her paintings have undergone a change, as they are less figurative and more abstract (although Kara’s abstractions reveal forms here and there).

Some of these forms are reminiscent of limbs, hybrids between bodies and dissolution. Her focus has also changed in terms of subject matter.

It is now less a matter of consciousness, and more about identity and questions of origin. She thus complements, or rather expands, the presentation of these paintings in exhibitions with site-specific installations.

Published after the exhibition, ‘Melike Kara: Where We Meet’ at Jan Kaps, Cologne (4 June – 22 August 2020).

With contributions from Jana Baumann, AnneClaire Schmitz & Fabian Schöneich.

A multimedia meditation on the many meanings of the ocean across history.

This volume closely follows the development of Joan Jonas' (born 1936) multiformat project Moving off the Land. The artist's most recent body of work, it encompasses three years of research into the significance of the ocean throughout history, and features sculptures, drawings, sound and new video productions. Jonas combines poetry and prose by writers such as Emily Dickinson and Herman Melville with texts by Rachel Carson and Sy Montgomery, and with moving images filmed in aquariums and in Jamaica, where algae bloom and over-fishing pose urgent threats to the ecosystem. The monograph includes the complete script for the performance along with annotations, images of Jonas' live performance, and a complete chronology with documentation of the performance's history.

A fully-fledged artistic project expanded with writings, poems, and aphorisms by the artist alongside various interviews.

Traveling in the Dark is an exhibition and a publication by the world-renowned film director, poet, writer, music composer, literary critic, and art theorist Trinh T. Minh-ha. The book is a fully fledged artistic project conceived by Trinh from the script and visuals of her film What about China? and expanded with her writings, poems, and aphorisms as well as various interviews that investigate "a relationship to infinity," "memory of the mirror," and the "in-between." The book offers an experience with many possible entries, words, voices, thoughts, images, and pauses. As a visual, poetic, and philosophical experience, Traveling in the Darkinvites us to rethink and experience "reality" differently from an approach mainly based on knowledge and re-presentation that we already possess or that is imposed on us. In other words: How can we learn to see our world without a priori seeing and knowing? In a time when the "all-seen" and "all-told" invade and control our daily lives, our private spheres and urban spaces, where are the areas of invisibility and shadows that leave us autonomy to see and to think, to say and to represent, to remember and to imagine? Traveling in the Dark engages the visitor and reader in an open montage of visual, sonic, and poetic textures, whose resonances, vibrations, recollections, exchanges, brushes, reflections, and passages undermine any pretense of fixed identity, historical truth, or prescribed territory.

Published on the occasion of the eponymous exhibition at Rockbund Art Museum, Shanghai, in 2022-2023.

Born in Vietnam in 1952, Trinh T. Minh-ha is an artist, writer, music composer, filmmaker, and literary theorist, teaching as Distinguished Professor of the Graduate School in the departments of Gender & Women's Studies and Rhetoric at the University of California, Berkeley, San Francisco.

For more than three decades, Tony Cokes (b. 1956, Richmond, USA; lives and works in Providence, USA) has been exploring in his work the ideology and affect politics of media and popular culture as well as their social impact. Starting from a fundamental critique of the representation and visual commodification of African-American communities in film, television, advertising, and music videos, Cokes has developed a unique form of video essay that radically rejects ­representational imagery. These fast-paced works consist of found text and sound material from diverse sources such as critical theory, online journalism, literature, and­ popular music.

The US artist’s first institutional solo exhibition in Germany also marks the first ­comprehensive collaboration between Kunstverein München and Haus der Kunst. The thematic starting point for Cokes’s new productions is the ideological and propagandistic entanglements of both exhibition venues during the Nazi era as well as their cultural-political role in the context of the 20th Olympic Games in Munich in 1972.

The publication Fragments, or just Moments accompanies the eponymous exhibition and translates stills from the newly produced video essays into a book format while examining the significance of Cokes’s work in terms of a contemporary approach to institutional critique. The essays are written by Tina M. Campt and Tom Holert, with an introduction by Emma Enderby and Elena Setzer (Haus der Kunst) as well as Maurin Dietrich, Gloria Hasnay, and Gina Merz (Kunstverein München).

Studio Visit collects two decades of work by Brooklyn-based artist Sara Greenberger Rafferty (born 1978), known for her material transformation of photographs and her use of comedy as an artistic strategy. Organized by material sensibilities around paper, plastic, glass, metal, fabric scraps, and "garbage," Studio Visit rethinks the monograph format, revealing Sara Greenberger Rafferty’s practice through intimate studio documentation, sketches, notes, and other ephemera, punctuated by full-color case studies of major works. 

With image descriptions by art historian Kate Nesin and new writing by Kristan Kennedy and Oscar Bedford, as well as reprinted texts by poet Lisa Robertson and media scholar Shannon Mattern, among others, Studio Visitsurveys Sara Greenberger Rafferty's cultural commentary through dynamic and conceptually rigorous art. 

The first-ever overview on the multimedia art of free-jazz pioneer and creative polymath Milford Graves

Milford Graves (born 1941) has been a revelatory force in music since the mid-1960s, liberating the drummer from the role of "timekeeper" to instrumental improviser and giving rise to the free-jazz movement, with groundbreaking performances alongside Lou Reed, Min Tanaka and John Zorn.

But music cannot contain the energies of his creativity and intellect. Graves' kaleidoscopic genius led him to develop an unprecedented body of interests--from medicine to botany, stem-cell regeneration to martial arts.  

A Mind-Body Deal gathers the multifaceted work of Milford Graves, exploring the practices and predilections of this extraordinary mind. Fully illustrated, this catalog includes documentation from the eponymous show at ICA Philadelphia, exhibiting a collection of Graves' hand-painted album covers and posters, idiosyncratic drum sets, recording ephemera, multimedia sculptures, photographs and costumes, with elements from his scientific studies.

American author Kathy Acker was one of the most influential writers of the 20th century. Working through an experimental and avant-garde tradition, she wrote numerous novels, essays, poems, and novellas from the early 1970s to the late 1990s. As a postmodernist, plagiarist, and post-punk feminist, she continues to inspire generations of writers, philosophers, and artists. Get Rid of Meaning is the first comprehensive publication on Acker’s work from an artistic and literary perspective. It includes previously unpublished material from Acker’s personal archive and other collections. The publication is the compilation of a multipart research project including an exhibition and a symposium at Badischer Kunstverein in Karlsruhe.

With contributions from: Kathy Acker, Eleanor Antin, Dodie Bellamy, Hanjo Berressem, Ruth Buchanan, William S. Burroughs, Anja Casser, Georgina Colby, Leslie Dick, Claire Finch, Johnny Golding, Lynn Hershman Leeson, Anja Kirschner, Chris Kraus, Sylvère Lotringer, Douglas A. Martin, Jason McBride, Karolin Meunier & Kerstin Stakemeier, Avital Ronell, Carolee Schneemann, Daniel Schulz, Matias Viegener & McKenzie Wark.

The first monograph on the groundbreaking video artist and member of the seminal Video Venice News and Studio Z groups.

This is the first major retrospective on the groundbreaking Los Angeles-based video artist Ulysses Jenkins (born 1946). Since the 1970s, Jenkins has interrogated questions of race and gender as they relate to ritual, history and state power. From his work with Video Venice News, a Los Angeles media collective he founded in the early 1970s, to his involvement with the artists' group Studio Z (alongside figures such as David Hammons, Senga Nengudi and Maren Hassinger), to his video and performance works, Jenkins explores how white supremacy is embedded in popular culture. Beginning as a painter and muralist, Jenkins was introduced to video just as the first consumer cameras were made available, and he quickly seized upon the technology as a means to broadcast critical depictions of multiculturalism. This catalog features an extensive portion of Jenkins' archive, early documentary films, photographs and ephemera, as well as his video art.

An oral-visual autobiography of Carolee Schneeman, with portraits of her home and working life.

The pioneering artist Carolee Schneemann (1939-2019) embraced a wide range of mediums: from painting to performance, film and video to mixed media and installations, famously applying the gestural physicality of action painting to kinetic environments and performances centered on the body--more often than not, her own. Many of the artist's works have entered the canon of contemporary art, such as Eye Body (1963), Fuses (1964), Meat Joy (1964), Up To and Including Her Limits (1974) and Interior Scroll (1975).
From Then and Beyond consists of interviews with Schneemann conducted by art historian Oliver Kielmayer (Kunsthalle Winterthur) and curator Lara Pan at her home in New Paltz, New York. The transcript of these interviews, edited into 27 monologues and dialogues, is the last substantial testimony by the artist and is complemented by illustrations of her works and photographs of her house.

Rory Pilgrim presents their first catalogue, bringing together their multifaceted practice as a filmmaker, composer, and more. Sharing work produced since 2008, this lovingly made book designed by Modern Activity includes sketchbooks, scores, song lyrics, and poetry. It is published on the occasion of the exhibitions Where The Tide Takes Us, Kunstverein Braunschweig, Germany, and Radio Ballads, Serpentine Gallery, London.

Rory Pilgrim (born 1988 in Bristol) works in a wide range of media including songwriting, composing music, film, music video, text, drawing and live performances. Centred on emancipatory concerns, Pilgrim aims to challenge the nature of how we come together, speak, listen and strive for social change through sharing and voicing personal experience. Strongly influenced by the origins of activist, feminist and socially engaged art, Pilgrim works with others through a different methods of dialogue, collaboration and workshops. In an age of increasing technological interaction, Rory Pilgrim's work creates connections between activism, spirituality, music and how we form community locally and globally from both beyond and behind our screens.

Edited by Rory Pilgrim, Jule Hillgärtner, Nele Kaczmarek, Zsa-Zsa Eyck, Matthew Appleton.

Texts by Jerry Brady, Jule Hillgärtner, Nele Kaczmarek, Human Poney, Louwrien Wijers.

Publication devoted to the only statement the Belgian artist has ever published about his own work.

Those familiar with Guy Mees know that he used the enigmatic title Lost Space to describe two major bodies of work, distinct in origin and form, and separated by a gap of more than twenty years: the geometric objects and panels covered in lace created in the 1960s, and the works he started producing in the 1980s featuring colour paper cutouts pinned to walls. This publication is dedicated to a lesser-known chapter in this story: the writing process of a short text entitled, likewise,The Lost Space. An ambiguous manifesto for Mees' work, the text went through a number of revisions, with Mees contributing suggestions, but never authoring it himself. This book reproduces eight extant versions of the text for the first time, in facsimile and typographic transcription as Richard Hamilton did with the Large Glass notes of Marcel Duchamp.

Published on the occasion of Guy Mees at MU.ZEE, Ostende, in 2019.

Limited edition of 350 copies.
 
Guy Mees (1935-2003) is a Belgian artist whose oeuvre encompasses photographs, videos, sculptures, and fragile works on paper that combine formal rigor with delicacy and a conceptual approach. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied arts.

Edited by Lilou Vidal.
Graphic design: Joris Kritis.

Nº 49 / October 2022

In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.

The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.

In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.

At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November

The artist is reprented by gallery rodolphe janssen