Euforia

A re-examination of Yvonne Rainer's Parts of Some Sextets, a radical performance and pivotal piece in the American choreographer's career, which led her to theorize her conception of dance in the 1960s, before being revived in 2019.

Parts of Some Sextets, Yvonne Rainer's 1965 performance for ten people and twelve mattresses, represents a turning point in the American choreographer's oeuvre. "My mattress monster," as Rainer calls it, was built in her formative years with the experimental downtown New York group Judson Dance Theater. In this work, she asserted her exploration of "ordinary" actions as well as her disregard for narrative constructions to create an intricate choreography that unfolded with a new scene every thirty seconds.

More than half a century after its premiere, Rainer, in collaboration with choreographer and dancer Emily Coates, directed the 2019 revival of the piece for the Performa 19 Biennial in New York, grappling with the changing contexts of a new presentation of her radical performance. Remembering a Dance: Parts of Some Sextets, 1965/2019 delves into every aspect of this dance, from its original manifestation to its reconstitution.

This book, designed by visual artist Nick Mauss, includes previously unpublished archival images and documents from the 1965 stagings at the Judson Memorial Church in New York and the Wadsworth Atheneum in Hartford, Connecticut. Texts by Emily Coates, RoseLee Goldberg, Jill Johnston, Kathy Noble, Yvonne Rainer, David Thomson, Lynne Tillman, and Soyoung Yoon, as well as a new interview with Rainer, pose questions about the trajectories of artworks, performers, and audiences, all while tracing the life—and afterlife—of a dance.

Edited by Emily Coates. 
Texts and contributions by Emily Coates, RoseLee Goldberg, Jill Johnston, Kathy Noble, Yvonne Rainer, David Thomson, Lynne Tillman and Soyoung Yoon; conversation between Yvonne Rainer, Emily Coates and Nick Mauss.

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.

The future of architecture lies in the curatorial approach. This is the thesis put forward by architect Wilfried Kuehn and theorist Dubravka Sekulić in their book Curatorial Design: A Place Between, which brings together contributions from more than 30 authors working in the fields of architecture, art, and curatorial knowledge and practice.

Architectural design and the curatorial share a non-disciplinary background, and aim to assemble diverse forms of knowledge rather than specializing. Inherently transdisciplinary, then, they are at odds with the increasing division of labor in all fields of knowledge and practice. In the face of professionalization, which limits our capacity to intervene comprehensively, design and the curatorial challenge specialization and produce relational knowledge. They intend to create an in-between place, as together they form a novel practice that—in combining heterogenous forms of knowledge—takes center stage rather than serving as a moderator or mediator of sorts. What unites them is the assertion of a relational form, the autonomy of which consists precisely in teasing out relations between different elements. What happens to architectural design when it consciously enters a relationship with the curatorial?
The book is aimed at practitioners and educators in the field of architecture and design, as well as curators and exhibition makers. It contains three photo series by Armin Linke that accompany the three sections of the book: "Public School for Architecture", "Total Reconstruction," and "Designing for Co-Habitation."

Contributions by Martina Abri, Ross Exo Adams, Thomas Auer, Giovana Borasi, Susana Caló, Brendon Carlin, Peggy Deamer, Clémentine Deliss, FICTILIS, Francesco Garutti, Maria Shéhérazade Giudici, Joyce Hwang, Anousheh Kehar, Bettina Köhler, Elke Krasny, Wilfried Kuehn, Ippolito Pestellini Laparelli, Maxim Larrivée, Matthew Leander Kalil, Mark Lee, Steve Lyons for Not An Alternative, Armin Linke, Mona Mahall, Charlotte Malterre-Barthes, Dejan Marković, Ana Miljački, Erica Petrillo, Christian Raabe, Albert Refiti, Damon Rich, Christiane Salge, Ivonne Santoyo-Orozco, Anna Schäffler, Bernd Scherer, Laila Seewang, Dubravka Sekulić, Asli Serbest, Stuart Smith, Laurent Stalder, Milica Tomić.

Semi-Nomadic Debt-Ridden Bedouins offers an in-depth look at nearly two decades of artistic output by the Palestinian artist and filmmaker Basma al-Sharif. Retracing her practice from recent works back to her earliest experiments, the book provides an original overview of how her visual language and conceptual concerns have evolved over time.

Basma al-Sharif's films and installations navigate the unstable terrains of displacement, colonialism, and representation—often shaped by the ongoing reality of the occupation of Palestine. Through a rich selection of images and curatorial essays, the monograph highlights the layered political and cinematic frameworks within which her works are embedded.

Also included are two newly commissioned literary contributions: a fictional piece by Karim Kattan that resonates with the themes of place and estrangement, and a conversation between al-Sharif and the artist Diego Marcon, in which they reflect on shared affinities, artistic processes, and their long-standing dialogue. Blurring the personal and the political, the real and the imagined, Semi-Nomadic Debt-Ridden Bedouins captures the complexity and urgency of al-Sharif's artistic journey.

Texts by Basma al-Sharif, Karim Kattan, Diego Marcon, et al.

Basma al-Sharif (born 1983 in Koweit) is a Palestinian artist working in cinema and installation. She developed her practice nomadically between the Middle East, Europe, and North America and is currently based in Berlin. Her practice looks at cyclical political conflicts and confronts the legacy of colonialism through satirical, immersive, and lyrical works.

Covering the past thirty years of William Scott's practice, this monograph offers the largest comprehensive selection of paintings, drawings, masks and architectural models, as well as an unique insight on his creative and transformative approach.

Published on the occasion of Malmö Konsthall William Scott's exhibition at Mälmo Konsthall en 2022.

William Scott (born 1962 in San Francisco) has developed his own artistic practice while working at Creative Growth, an art center in Oakland where people with development disabilities are given the opportunity to work and advance creatively as artists. Combining image and text, his colourful paintings tie in stylistically with current popular culture. Scott's vividly graphic and highly detailed paintings, drawings, and sculptures explore the intersections of community, cultural memory, faith, and science fiction. "Rebirth" is a constant subject for the artist, who reimagines the social topography of his native San Francisco as well as new, interstellar organizations. His portraits depict family members and neighbors, and celebrate Black actors, musicians, and civil rights leaders. For Scott, painting is a transformative as well as a documentary tool; a way to re-craft his personal narrative and even undertake extraordinary acts.

Edited by Nicola Wright
Texts by Carson Cole Arthur, Nana Biamah-Ofosu, Helen Delaney, Tom di Maria, Simona Dumitriu, Nathan Hamelberg, Kathleen Henderson, Matthew Higgs, William Scott, Nicola Wright

Narrative/Prose issue, featuring a special section: I was writing, but it was drawing: a Renee Gladman mini-feature with work by Renee Gladman * Earl Jackson, Jr. * Bruna Mori * Alexis Almeida on Renee Gladman & Julie Carr * Lewis Freedman & Vanessa Thill on Renee Gladman & Mirtha Dermisache. as well as work by Isabel Waidner * sissi tax (translated by Joel Scott & Charlotte Theißen) * Susan Hefuna * Mira Mattar * Lital Khaikin * Maryam Madjidi (translated by Ruth Diver) * Omer Wasim & Saira Sheikh * Ilse Aichinger (translated by Christian Hawkey & Uljana Wolf) * Bronka Nowicka (translated by Katarzyna Szuster) * Maude Pilon (translated by Simon Brown) * Mehmet Dere * Syd Staiti * Jena Osman * Germán Sierra * Natani Notah * Julia Bloch on Bernadette Mayer * Robert Glück on Clarice Lispector * Rob Halpern on Bruce Boone & Dennis Cooper *Dylan Byron on/after Bruce Boone * Linda Bakke on Communal Presence: New Narrative Writing Today * Anna Fidler * Corey Zielinski on Bob Glück & Writers Who Love Too Much: New Narrative 1977-97 * Jackie Kirby on From Our Hearts to Yours: New Narrative as Contemporary Practice * David W. Pritchard on Kevin Killian * Dale Enggass on Simone White * Allison Cardon on Anne Boyer * Robert Balun on Leslie Kaplan * Marco Antonio Huerta on Omar Pimienta * Allison Grimaldi Donahue on Josué Guébo * Sara Florian on Lasana Sekou * Louis Bury on Allison Cobb * Hugo Gibson on Annie Ernaux.

Recorded and transcribed throughout the 1960s, Carla Lonzi’s Self-portrait ruptures the narration of post-war modern art in Italy and beyond. Artmaking struck Lonzi as an invitation to be together in a ‘humanly satisfying way’, and this experiment in art-historical writing is a testament to her belief. Lonzi abolishes the role of the critic, her own, seeking change over self-preservation by theorising against the act of theorising.

The life and work of Carla Lonzi (1931–1982) is inseparable from the cultural, political, and social history of Italy in the decades following the Second World War; she occupies a singular position, which today merits reevaluation. A reputed art critic of the 1960s artistic scene, both friend and collaborator of such figures as Carla Accardi, Luciano Fabro, Giulio Paolini, and Jannis Kounellis, she wrote “Autoportrait” in 1969, a “love letter” to the artists and to creation, but also a farewell chorus to art criticism and the art world. The following year she founded Rivolta Femminile, an active feminist collective, thus becoming the central figure of Italian feminism.

Interviews with Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Guilio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpita, Guilio Turcato, Cy Twombly.

Afterword by Claire Fontaine.
Translated by Allison Grimaldi Donahue.

978-1916425088
105 b&w illustrations
21.6 x 13.9 cm
364 p.
Paperback
November 2021

Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde—artist, poet, critic, essayist, curator, editor, filmmaker, and a promoter of experimental ideas and artistic expressions. 
Reflecting questions of hierarchy, authorship, and the complexity of framing or dividing within the multiple and complementary practices of Ernesto de Sousa—whose motto “Your Body is My Body, My Body is Your Body” serves as a poetic manifesto—this publication explores the various aspects of his oeuvre (visual, poetical, and theoretical) and his outstanding inventiveness of concepts.

The volume brings together a selection of works, unpublished archives and their translations, and theoretical texts by Ernesto de Sousa, including the first complete translation in English of «Orality, the future of art?» (1968). Richly illustrated, the book reunites an introductory text by Lilou Vidal, two new essays by Paula Parente Pinto and by José Miranda Justo along with a text by Hugo Canoilas.

"There was a time when bread was sacred; and in a general sense, all fabricated objects deserved the respect that resulted from (for the conscience of those who used them) concretely diving into their own motivations. Human gestures, like aesthetic objects, were inseparable from their relevant functions. Naturalism prompted us to look at natural and fabricated objects with a vision that was cosmic and indifferent at the same time. The objects, today, object. In the future, objects and gestures will perhaps clothe themselves once again in their lost dignity. The word love, a bit of bread, the letter A will stop being mortal accidents of daily life. Desacralized, they will once again be as decisive as the tiniest brushstroke the painter made on his canvas. And each of these brushstrokes will reveal the structure of the world. Life can then be compared to a vast work of art. Everything will be absolutely aesthetic.."
— Ernesto de Sousa

Contributors: Hugo Canoilas, Ernesto de Sousa, Tobi Maier, José Miranda Justo, Paula Parente Pinto, Lilou Vidal