Anne Tallentire Archives · BY ASSOCIATION

Anne Tallentire

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The writing in belongs to a series of collages (2020) responding to floor plans of buildings that hold personal resonance for Tallentire, among them a social housing development in Graz and the artist’s home. The plans are partially obscured by drafting tape and rectangular, blank cards—shapes that on a one-to-one scale correspond to passages from books that Tallentire returned to frequently while working from home during periods of self-isolation. While the concealed paragraphs appear merely in guise, otherwise emptied of textual content, their opening words turn titular instead. Placing diagrammatic representations of dwelling spaces alongside the intellectual space formed by the act of reading, the collages consider two correlated spatial systems that suffuse the everyday life.

Anne Tallentire
The writing in, 2020
Xerox EcoPrint Paper 75gsm, 200gsm card, masking tape
25.5 x 21 cm

£4,400 (excl. VAT and shipping)

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Johanna Billing

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Read: Liner notes

Listen: B side, Track 8

This vinyl features the film score of Billing’s work Another Album (2006), additional recording session sounds and a selection of live improvisations of songs from the Novi Val (new wave) movement that blossomed around late 1970s and ’80s in the former Yugoslavia.

Johanna Billing
Another Album, 2007
Producer: Hollybush Gardens, London and Åbäke
Design: Åbäke
31.2 x 31.4 x 0.8 cm, 12″ vinyl record

£20

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Johanna Billing

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This catalogue is jointly realised by three public institutions as part of ‘The 3 Series’, which staged a multi-venue exhibition of I’m Lost Without Your Rhythm at Camden Arts Centre (2009), Arnolfini in Bristol (2009) and Modern Art Oxford (2010). Together with an introductory text, essay, interview passages, and a selection of video stills capturing views of a choreography workshop in Billing’s work, the publication documents Billing’s interest in the politics of participation and collective experience.

Johanna Billing
I’m Lost Without Your Rhythm
Publisher: Hatje Cantz Verlag, 2009
Texts: Bruce Haines, Johanna Billing and Cristian Nae
Editor: Bruce Haines
Design: Åbäke
Partners: Camden Arts Centre; Modern Art Oxford; Arnolfini, Bristol
26.8 x 20 cm x 0.8 cm, 64 pages, hardcover
ISBN: 1900470942

£20

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Andrea Büttner

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A compendium of beggars’ depictions as imagined across visual cultures, this artist’s book by Büttner examines the fraught associations of poverty in relation to art history, theology and the politics of social benefits. Notions of shame, vulnerability and dignity correspond with featured reproductions of the artist’s woodcut series on the same subject. This publication also draws from Büttner’s extensive research at the Warburg Institute in London including sixteenth-century vignettes from the Liber Vagatorum and iconographies of shepherds and kings from nativity scenes.

Andrea Büttner
Beggars
Publisher: Buchhandlung Walther König, 2018
Texts: Anne Carson, Christopher P. Heuer and Linda Nochlin
24 x 17 x 2.5 cm, 308 pages, 129 colour illustrations, softcover
ISBN: 9783960983439

£40

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Andrea Büttner

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In this artist’s book, Büttner displays photographs of moss together with drawings by Gwen John (1876-1939). The book is based on research the artist undertook between 2011 and 2014 at the National Museum Cardiff, which houses many different collections all under one roof. These include an art collection with the world’s largest body of drawings by John, and a natural history collection with an internationally renowned moss collection. The book was published to coincide with the exhibition Andrea Büttner: Hidden Marriage at National Museum Cardiff, 22 February – 2 June 2014.

Andrea Büttner
Hidden Marriages
Publisher: Buchhandlung Walther König, 2014
Texts: Andrea Büttner, Ray Tagney and Lily Foster
Editor: Ben Borthwick
Design: Quentin Walesch
32.5 x 25.5 x 1 cm, 64 pages, hardcover
ISBN: 9783863356095

£26

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Andrea Büttner

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Liber Vagatorum (The Book of Vagabonds) is a book from the 16^th century that was published in different places, different languages and large editions across Europe during the Reformation period. It warns of beggars and their ‘tricks’, of the secret language of beggars and vagabonds, of ‘false’ artists and pets that hold out their hands in front of city gates and church doors. A version of Liber Vagatorum was even published by Martin Luther himself. The book marks a turning point from the medieval concepts of poverty and caritas to the concept of the work ethic enshrined in Protestantism. It introduces the difference between legitimate and illegitimate poverty.

Andrea Büttner
Liber Vagatorum: Der Bettler Orden
Publisher: Buchhandlung Walther König, 2020
Texts: Andrea Büttner and Christopher P. Heuer
Editor: Brigitte Oetker
Design: Boy Vereecken and Antoine Begon
26.5 x 21 x 5 cm, 64 pages, softcover
ISBN: 9783960987574

£22

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Andrea Büttner

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In this extensive historical and contemporary analysis of shame and its power, Büttner probes the definitions and representations of shame. This book includes close readings of Sigmund Freud’s writings on play and fantasy, challenges theoretical approaches to Andy Warhol’s queer performativity on film and frames Dieter Roth’s representations of shame in his writing and moving image work.

Andrea Büttner
Shame
Publisher: Buchhandlung Walther König, 2020
Editor: Mason Leaver-Yap
20 x 14 x 1 cm, 128 pages, softcover
ISBN 9783960987406

£17

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Andrea Büttner

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In Büttner’s work spatial motifs unfold and lay bare their very conditions of exposure. Corner (Grey) (2011) manifests an arbitrary coordinate shaped by trilateral convergence of colour planes. At once a conventional, geometric shorthand and a familiar place of banishment, the corner motif in Büttner’s work points to nuances of experienced shame and conjures up expressions such as ‘go stand in the corner.’

Andrea Büttner

Corner (Grey), 2011

Woodcut on paper

113.7 x 128.9 cm

Edition 2 of 10 + 2 AP

€7,500 (excl. VAT and shipping)

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Knut Henrik Henriksen

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Architectural Doubts is a major survey monograph examining 20 years of Henriksen’s practice. The book looks in detail at his central concepts of ‘architectural doubts’ and ‘architectural frustrations’. Henriksen’s sculptures and interventions are often defined around spatial volumes in structures that have gone through change over time. Buildings re-articulated via ‘architectural doubts’ include Hamburger Bahnhof, Berlin, Kunstmuseum Bern and Villa Savoye by Le Corbusier. Harnessing the form of ‘the book’, Henriksen has kept the ‘waste space’ around the standard A4 format and invited fellow artist Karl Holmqvist to use this as a project space. This book works as a manual linking Henriksen’s thoughts around sculpture, architecture, materials, standard forms, doubts and frustration.

Knut Henrik Henriksen
Architectural Doubts
Publisher: Buchhandlung Walther König, 2016
Texts: Knut Henrik Henriksen, Karl Holmqvist, Lars Bang Larsen, Ellef Pretsaeter, Alexander Scrimgeour and Amy Sherlock
Editor: Knut Henrik Henriksen
34 x 24 x 3 cm, 300 pages, 256 colour and 40 black-and-white illustrations, softcover
ISBN: 9783863355241

£25

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Knut Henrik Henriksen

Henriksen’s Envelope (2015) is part a consummate, geometric equipoise but also itself part of a series of architectural meditations on formats, for instance the International Organisation for Standardisation’s A series. Henriksen brings our attention to the physical structures and constraints of such bureaucratic conventions by exploring their extremities and the industrial tendency to dispose and order.

Knut Henrik Henriksen
Envelope, 2015
Wood, paint
35 x 35 cm

€3,000 (excl. VAT and shipping)

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Knut Henrik Henriksen

Henriksen’s doubtful paper monuments conjure decidedly subjective projections: insecure and unstable, their imagined architectures are domestically scaled in precarious pillars of wallpaper. These sculptures were initially conceived in response to creating large-scale, expensive and often bureaucratic projects. The rolls of store-bought wallpapers are both economical and readily available, allowing for impulsive creation while evidencing a certain insecurity or nervousness. As Henriksen says, ‘a kind of hopelessness’ pervades these delicate, imagined monuments – a frailty in which one finds an appealing counter-production. Henriksen notes: ‘They frustrated me with their fragility. I don’t know exactly what they are – they are “doubt”, they are nonverbal. I don’t know where I’m going with them, how they should be titled, or how to preserve them.’ These wallpaper assemblages ultimately model both failings and feelings, their compositional uncertainty and material precarity are counterintuitive preservations of awkwardness.

Knut Henrik Henriksen
Monument Without a Cause, 2013
Wallpaper
60 x 10 x 7 cm

€2,400 (excl. VAT and shipping)

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Lubaina Himid

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This catalogue was produced by Tate Publishing in close collaboration with Himid and covering areas of her work hitherto unexplored. The traditional, artist-monograph format, here, instead serves as a useful manual for readers. ‘How to paint on things’, ‘How to write in code’, ‘How to do magic’, ‘How to be funny’ and ‘How to make a life plan using poetry’ are amongst topics that address key artistic interests of Himid’s career. Explorations of the history of painting, political satire, poetry and the spoken word, architecture, textiles and the tacit messages extracted from pattern are running themes that thread through the publication. A selection of the poetry that has influenced the artist throughout her career, new text from the artist herself and contributions from authors of a varied expertise offer perspectives that set Himid’s work and artistic interests into wider contexts.

Lubaina Himid
Publisher: Tate Publishing, 2021
Texts: Amrita Dhallu, Christine Eyene, Lubaina Himid, Lisa Merrill, Griselda Pollock, Magda Stawarska-Beavan and Carol Tulloch
Editor: Michael Wellen
24.2 x 21 x 2.3 cm, 176 pages, hardcover
ISBN: 9781849767484

£35

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Lubaina Himid

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In a limited run of three hundred copies, this special-edition publication is presented in a clothbound slipcase featuring a specially-conceived painted pattern. Each publication is individually numbered and signed by the artist. Initially trained in theatre design, Himid is known for her innovative approaches to painting and to social engagement. She has been pivotal in the UK since the 1980s for her contributions to the British Black arts movement, making space for the expression and recognition of Black experience and women’s creativity. Over the last decade she has earned international recognition for her figurative paintings, which explore overlooked and invisible aspects of history and of contemporary, everyday life. In 2017 she was awarded the Turner Prize.

Lubaina Himid
Publisher: Tate Publishing, 2021
Texts: Amrita Dhallu, Christine Eyene, Lubaina Himid, Lisa Merrill, Griselda Pollock, Magda Stawarska-Beavan and Carol Tulloch
Editor: Michael Wellen
25.3 x 21.5 x 3 cm, 176 pages, hardcover
ISBN: 9781849767491

£200

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Lubaina Himid

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‘When something you used to have has disappeared or is missing, an arm, a lover or a leg perhaps, they say that you can still feel it. Occasionally a pain or an irritation, a sneeze or the perfume of a flower on an early summer evening reminds you that the something you have lost will always be there but only as a fleeting moment/thing.’

—Lubaina Himid

Published on the occasion of Himid’s solo exhibition at Hollybush Gardens, Water Has a Perfect Memory, this special edition of Hollybush Issue includes a response by Bermudian writer and performer, Andra Simons, alongside poetic companion pieces written by Himid and an expanded text by Magda Stawarska-Beavan, whose work is also featured in the exhibition.

Hollybush Issue is a contextualising device that provides information on artists’ practices through essays, conversations and images. Issues are printed periodically and linked to specific events such as exhibitions, performances or presentations.

Lubaina Himid
Hollybush Issue 12
Publisher: Hollybush Gardens, London, 2022
Texts: Lubaina Himid, Andra Simons, Magda Stawarska-Beavan
Design: Matthew Stuart
27 x 19 cm, 32 pages, softcover

£3

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Lubaina Himid

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This catalogue was produced on the occasion of Himid’s exhibition Naming the Money at Hatton Gallery, University of Newcastle Upon Tyne, 17 January – 13 March 2004. The publication features letters written by the artist to Lucy Whetstone, Curator at Hatton Gallery, alongside an essay written by Whetstone.

Lubaina Himid
Naming the Money
Publisher: Hatton Gallery,University of Newcastle upon Tyne, 2004
Texts: Lubaina Himid and Lucy Whetstone
21 x 15 x 0.4 cm, 40 pages, hardcover
ISBN: 9780701701666

£10

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Lubaina Himid

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This catalogue is published after Himid’s major exhibitions across the UK in 2017–18 at Spike Island in Bristol, Nottingham Contemporary, The Harris in Preston, BALTIC in Gateshead and Walker Art Gallery in Liverpool and constitutes the artist’s first extensive monograph. It features documentation from exhibitions and projects alongside archival images and the artist’s own writing from the 1990s to the present.

Lubaina Himid
Workshop Manual
Publisher: Buchhandlung Walther König, 2018
Texts: Lubaina Himid, Helen Legg, Courtney J. Martin, Griselda Pollock, Emma Ridgeway and Zoe Whitely
30 x 23.2 x 3 cm, 312 pages, softcover
ISBN: 9783960984726

£30

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Claire Hooper

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Hooper was the winner of the 2010 Baloise Art Prize. This catalogue was published in tandem with the artist’s exhibition at mumok where she presented her prize-winning video Nyx (2010). The work is part of a trilogy that includes two other works from 2011, Aoide and Eris. In her films, Hooper interweaves narratives from the present with characters and concepts from Greek mythology. These become elements of a kaleidoscopic mélange of reality and fiction in which Hooper, in the manner of a Nouveau Roman, also dispenses with the linear succession of past, present and future.

Caire Hooper
NYX.AOIDE.ERIS

Publisher: mumok, 2011

Texts: Eva Badura-Triska, Claire Hooper, Karola Kraus and Mike Sperlinger

18.5 x 12.3 x 0.5 cm, 112 pages, softcover
ISBN: 9783902490889

£15

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Charlotte Johannesson

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A key figure of Swedish counterculture and the creator of the first digital arts laboratory in Nordic countries, Johannesson has worked primarily with two tools: the artisan technology of the loom and digital IT programming technology, exploring and throwing into relief the connections, both conceptual and methodological, that exist between the two. Take Me to Another World renders an account of the meticulous research process around colour and line that the artist executes in her textile and digital practice. It also spotlights the contribution of Danish writer and artist Amalie Smith, who set up a dialogue between Johannesson’s career and her own present-tense narrative. Furthermore, the publication incorporates an interview conducted with the artist in 2012, re-edited and translated on the occasion of Johannesson’s solo exhibition at Museo Nacional Centro de Arte Reina Sofía.

Charlotte Johannesson
Take Me To Another World
Publisher: Museo Reina Sofía, 2021
Texts: Lars Bang Larsen, Rhea Dall, Charlotte Johannesson and Amalie Smith
32 x 21 cm, 172 pages, softcover
ISBN: 9788480266246

£25

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Charlotte Johannesson

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Johannesson’s monochrome composition, Each is a Universe (2018), forms a relief made up of organic matter including nut shells and cambered plant stems. In a continuation of Johannesson’s interest in symbolism, semantics and image-making, the composition is subsumed within layers of blue paint reminiscent of indexical colour renderings. Yet by preserving the natural and botanical matter in this way, Johannesson privileges an enduring attraction to material life. Johannesson’s sampling of content acknowledges the structural mutuality and dependency between organic minutiae and elaborate ecosystems.

Charlotte Johanneson

Each is a Universe, 2018

Acrylic on canvas with organic matter

81 x 65 x 4 cm

£7,000 (excl. VAT and shipping)

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Claudette Johnson

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This catalogue is published on the occasion of the exhibition, Claudette Johnson: I Came to Dance at Modern Art Oxford, 1 June – 8 September 2019. Johnson creates large-scale studies of black men and women that are both intimate and powerful, as she notes: ‘I am interested in our humanity, our feelings and our politics; some things which have been neglected.’
Her exhibition at Modern Art Oxford marks Johnson’s first significant institutional show of her work, spanning four decades and including approximately 30 paintings and drawings in pastel, paint, ink and charcoal. The texts in this exhibition catalogue offer fresh insights into her practice and the dynamic impact of her association with the First National Black Arts Convention organised by the BLK Art Group in Wolverhampton, 1982. Alongside a selection of archival materials, the catalogue includes an interview with Johnson.

Claudette Johnson
I Came to Dance
Publisher: Modern Art Oxford, 2019
Texts: Claudette Johnson, Courtney J. Martin, Steve McQueen, Ella S. Mills, Emma Ridgway and Gilane Tawadros
30 x 21.6 x 1.3 cm, 112 pages, softcover
ISBN: 9781999640422

£18.95

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Ellen Lesperance

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‘For the mixed-media print Who Killed Karen Silkwood? Lesperance utilised some of the same matrices she deployed for Life (2020) but created a pared-down version whose muted grey colours provide the perfect foil for the printed woollen scarf folded across its surface and the pink hand-knit nipple pin fastened on its right side. The nipple, with its puckered fibres and evidently hand-wrought texture, highlights the surprisingly tactile nature of lithography, which historically has involved a bodily encounter with ink, paper and stone. Drawing from the source imagery of a photograph from c. 1983–1985 in which a group of protestors, clad entirely in mourning black, demand accountability for the death of US laboratory technician, union leader, and nuclear safety activist Karen Silkwood, Lesperance has honed in on a detail that might otherwise go overlooked, which is the nipple attached to the central figure’s pants. This somewhat odd accessory distinctly genders the protest and underscores the stakes of Silkwood’s death: it declares that radioactive pollution, industrial contamination, and environmental despoliation are inextricably feminist concerns, and that Silkwood, as a mother, might have been especially concerned about these issues. The extraneous, detached nipple also functions—probably unintentionally—as a moment of almost surrealist or ghoulish humor within a scene otherwise marked by its almost oppressive seriousness.’

—Julia Bryan-Wilson

Ellen Lesperance
Who Killed Karen Silkwood?, 2020–2021
Three-colour lithograph with chine collé and hand-knitted element on tan Rives BFK, Mulberry and Thai Kozo, signed on the verso
108.9 x 74.6 cm
AP 1 of 2 + 15 Editions

$3,500 (excl. VAT and shipping)

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Eline McGeorge

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This catalogue was produced following McGeorge’s solo exhibition, As Spaces Fold, Companions Meet at Oslo Kunstforening, 21 January – 21 February 2016. In the exhibition, McGeorge treats folds as a visual and thematic motif, including the notion of folded space—an interpretation inspired by science fiction. Folded space permits the coexistence of fiction and reality to cast new constellations across time and space. McGeorge articulates conditions of alienation and hybridisation informed by ecological crises, the legacies of feminist politics, and the potential of science fiction. This publication includes works from the exhibition and texts by the artist, Marcus Verhagen, Marit Paasche and Marianne Hultman.

Eline McGeorge
As Spaces Fold, Companions Meet
Publisher: Dent-De-Leone, 2017
Texts: Henriette Gunkel, Marianne Hultman, Eline McGeorge, Marit Paasche, Line Ulekleiv and Marcus Verhagen
Design: Åbäke
25 x 17.8 x 2 cm, 224 pages, softcover
ISBN: 9781907908415

£25

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Eline McGeorge

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A-W-O-R-L-D-O-F-O-U-R-O-W-N is McGeorge’s second publication by Dent-De-Leone. It features a script of several characters, all named Cosmo, who are in turn Maya Deren, Nina Hagen or Virginia Woof. These characters are isolated somewhere between the 1970s and the present, in a world similar to our own. Rejecting a singular paper standard—set in both European A4 and American letter sizes—the publication, which is made from recycled £5 notes, accents the obscurities of Western standards.

Eline McGeorge
A-W-O-R-L-D-O-F-O-U-R-O-W-N
Publisher: Dent-De-Leone, 2012
29.7 x 21.6 x 0.4 cm, 32 pages, softcover
ISBN: 9781907908057

£15

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Eline McGeorge

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This HBG LHO(oq) Repair Manual clones instructional templates of troubleshooting guides as an owner’s manual used for maintaining, disassembling and servicing the HBG LHO(oq), written in Albanian. Upon closer inspection, however, readers can discern a small, camouflaged short novel embedded within a totalitarian regime and deceptively smuggled within a conflicting form.

Eline McGeorge
HBG LHO(oq)
Publisher: Dent-De-Leone, 2009
24 x 17 x 0.4 cm, 80 pages, softcover
ISBN: 9780956188540

£10

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Eline McGeorge

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This publication was produced for the exhibition We are living on a star at Henie Onstad Kunstsenter (HOK), Norway, 30 January – 27 April 2014. The project investigates paradoxes within the social democratic ‘normality’ and engages with the concept of the ‘biomat.’ The book contains a transcription of McGeorge’s video montage work by the same title and maps the video’s references in a narrative text in both Norwegian and English. The publication also includes a drawn sequence from the animation process for the video.

Eline McGeorge
With the Free Rider into the Oil Change and Beyond
Publisher: Torpedo Press, 2014
21 x 16.5 x 0.8 cm, 72 pages, softcover
ISBN: 9788293104124

£12

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Bruno Pacheco

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A demi-puckered cake box is the subject matter of this unique painting within a suite of associated studies by Pacheco. The artist frequently derives motifs from found images. He describes his approach to painting as a ‘neutralisation’ of the immediate graphic nature of the subject matter, a reductive act that is achieved by bringing form and ground together, and disrupting the conventional hierarchy of elements that constitute a picture.

Bruno Pacheco
Folding Box (study), 2010
Acrylic on paper
38 x 55.5 cm

€2,500 (excl. VAT and shipping)

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Bruno Pacheco

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This catalogue was published to accompany the exhibition Bruno Pacheco: Red was the tone at Galeria Filomena Soares in Lisbon, 17 March – 21 May 2016.

Bruno Pacheco
Draft (red was the tone)
Publisher: Galeria Filomena Soares, 2016
Design: Arne Kaiser
34.5 x 23.5 x 1.5 cm, 83 pages, hardcover
ISBN: 9789728582135

£40

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Bruno Pacheco

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This publication is a scale facsimile of one of the thirty-five books that constituted Vaivém, Pacheco’s exhibition presented at Galeria Qaudrum in Lisbon, 12 October 2018 – 13 January 2019.

Bruno Pacheco
The Return
Publisher: Documenta, 2020
EGEAC, Galerias Municipais, Fundação Carmona e Costa
32 x 24.3 x 0.7 cm, 16 pages, hardcover
ISBN: 9789899006188

£20

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Bruno Pacheco

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This catalogue, edited by Galerias Municipais in partnership with Documenta, is dedicated to Pacheco’s exhibition Vaivém, curated by Bruno Marchand, at Galeria Quadrum in Lisbon, 12 October 2018 – 13 January 2019. The richly illustrated publication features a bipartite essay by Marchand: ‘what Bruno Pacheco is attempting to do with these tables and books does not compromise the essence of his work: the construction of a pictorial corpus that critically and sensitively engages with us in its double condition as a group of images cut out of the world and a group of skins coating a surface. What they do to confer—and to otherwise unimaginable scales, levels and complexities—is the play of recognition, evocation and strangeness all his works offer us.’

Bruno Pacheco
Vaivém
Publisher: Documenta, 2020
EGEAC, Galerias Municipais, Fundação Carmona e Costa
24.5 x 17 x 1.5 cm, 124 pages, hardcover
ISBN: 9789899006171

£22

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Falke Pisano

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Pisano’s Learning in Proximity (2015) belongs to a body of work that investigates the cultural values embedded in mathematics.

‘Two years ago, by chance, I read a text about how cultural values have permeated the way we think about mathematics and mathematics education. Although I was aware of how mathematics has been instrumentalised, more often than not maintaining and pushing inequality, I realised then that I was still attached to the idea of mathematics as a universal, purely abstract—and therefore value-free—language. I even considered it as one, potentially complete, body of knowledge. The text, which advocated an anti-racist review of maths education, offered a more complex view. In my eagerness, I absorbed this as a full antithesis: mathematics fallen off the pedestal of logic and reason, covered with the dirt of past and present, insisting on a claim to “truth” that had long been revealed as a delusion. A mathematics pretending to be one perfect language developed in an almost perfect linear way, to conceal that it is in fact a set of mathematics appropriated by various groups of people throughout a series of cross-cultural encounters. Finally, a mathematics that is unable to accept that it is but one amongst many—different but equal.’

—Falke Pisano

Falke Pisano
Learning in Proximity, 2015
Wood, fabric, paper, leather, pencil
88.5 x 45.5 x 69 cm
€4,000 (excl. VAT and shipping)

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Ruth Proctor

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Super Ruda (2010) is Proctor’s alter ego, conceived during the artist’s residency in Cali, Colombia. Borne out of a desire to blend within the setting of Cali, the character’s comportment of a black wig along with a colourful cape more closely resembled a standout super hero or cartoon figure. The act of roaming and discovering the city was less a performance than an emulation of native dwelling. Proctor conceived this poster as a tribute and salutary mark on the city’s building fabric and skin. In time covered or displaced by their kindred, the posters shed temporal records as gestures of the impermanency of living conditions.

Ruth Proctor
Super Ruda, 2010
Offset print poster
100.5 x 66.5 cm
Limited edition

£100 (excl. VAT and shipping)

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Charlotte Prodger

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The Palace Prints photographic series draws on material Prodger encountered during the making of SaF05 (2019). The series comprises pages of a book showing 6^th Century BC Assyrian stone relief panels depicting lion hunts, in the process of being cut and collaged by the artist. A levelled plane of guiding grids and page markers, the photograph shapes a recalibration of anthropological blueprinting. In palace reliefs of this period the distinction between foreground and background appears flattened and collapsed, counter to linear perspective’s illusionary depth. These spatial systems echo Prodger’s ongoing preoccupation with queering perspective, framing and time in relation to bodies and landscape.⁣

Charlotte Prodger
You Burn Me, 2019
C-type print
35.5 x 53 cm
Edition 1 of 3 + 2 AP

£8,000 (excl. VAT and shipping)

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Reto Pulfer

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Der Grottenkatalog was published on the occasion of Pulfer’s solo exhibition at Kunstverein Nürnberg in 2013. The exhibition featured an installation comprising a blue fabric tent with sewn-in bed sheets and other textiles, furnished with pastel drawings and ceramic objects as a place of tense fullness. An intensified perception of the space was further evoked by additives from products from the luxury food industry, such as flavour enhancers and Japanese dashi, as well as by the sounds of an electric guitar played by the participants themselves. This illustrated catalogue features texts by Simone Neuenschwander and Barbara Casavecchia, examining Pulfer’s exhibition and his associative interest in phenomena, language, sound and process.

Reto Pulfer
Der Grottenkatalog
Publisher: Kunstverein Nürnberg – Albrecht Dürer Gesellschaft, 2013
Texts (English and German): Barbara Casavecchia and Simone Neuenschwander
16.2 x 22 x 1.2 cm, 60 pages, hardcover
ISBN: 9783869844718

£20

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Reto Pulfer

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Pulfer’s practice investigates various conditions of mutability, incorporating fabric as a malleable, sensorial feature of his installations and performances. The agential latency of textile is used to challenge the limitations of painting. Fabric’s versatility as a substructure for painting allows Pulfer to articulate mnemonic patterns or systems. Das Gluhen der Milchstrasse [The Glowing of the Milky Way] (2013) comprises ink on cotton and ribbon over a self-built wooden frame. The work, originally exhibited in Pulfer’s solo exhibition, The Placidity of Choice (2013) at Hollybush Gardens, was hung in a salon style manner alongside other textile and ceramic works. Das Gluhen der Milchstrasse [The Glowing of the Milky Way] was made during a five-month residency at Kunstverein Nürnberg in 2013. Here, Pulfer utilises painting as a document, diary or experiment. The painting retains gestures of process, serving as a conduit or container for the impermanence of memory, while its title and original installation implies participation within a constellatory system.

Reto Pulfer
Das Gluhen der Milchstrasse [The Glowing of the Milky Way], 2013
Ink on cotton, ribbon, wooden frame
74 x 53 x 7 cm

£3,000 (excl. VAT and shipping)

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Reto Pulfer

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In the style of a catalogue raisonné, Pulfer’s comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist’s work over the past fifteen years. Excerpts from the artist’s novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer’s technical drawings, temporary exhibitions, large-scale installations and performances. Categories such as living ceramics, food advice, ghostology, synesthesia and transformation are woven throughout the book, giving unique insight into the ideas and imagination that span across the artist’s work.

Reto Pulfer
Zustandcatalog: Catalog of States and Conditions
Publisher: Sternberg Press, 2017
Texts: Anselm Franke, Benoit Maire and Reto Pulfer
Editors: Nikola Dietrich and Reto Pulfer
Design: HIT
32 x 24.5 x 2.5 cm, 280 pages, softcover
ISBN: 9783956793028

£30

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Anne Tallentire

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Andrea Büttner

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Reto Pulfer

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