Anne Tallentire

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Foregrounding the non-spectacular is central to Anne Tallentire’s practice. Her formal consideration of industrial materials contest confines of utilitarian attitudes. The artist’s architectural arrangements elevate concealed structures and systems into view. Turn IV (2016) belongs to a series of such arrangements that recompose and subvert the bearings of subfloor conduit and insulation.

Anne Tallentire
Turn IV, 2016
Fibre-woven film fabric, aluminium foil tape
60 x 60 x 2 cm

£6,500 (excl. VAT and shipping)

Anne Tallentire

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This work is part of Tallentire’s series of C-type photographs From, in and with (2015), depicting arrangements of common objects such as a ruler, metal rig and plastic cover. This body of work was created for Still, We Work, a touring exhibition and publication project commissioned by the National Women’s Council of Ireland (NWCI) in 2013. The 24 photographs from Tallentire’s series corresponds with 24 specially commissioned 100-word texts by women working in architecture describing buildings located between the NWCI offices and the former Jacob’s biscuit factory, the site of the 1913 Dublin Lockout workers’ strike. Tallentire’s photographs thus function as a form of translation and plan-making, playing with form and context to reflect on Dublin’s built environment and the role of contemporary women’s work within it. The series, according to Tallentire, is an attempt to ‘speak to the accidental, the disparate and fractured elements of life today and the frequently hidden determinants that affect and shape experience.’

Anne Tallentire
From, in and with: AC3, 2015
C-print on HFA photo rag paper
64.5 x 72 x 2.5 cm
Edition 1 of 3 + 2 AP

£5,000 (excl. VAT and shipping)

Johanna Billing

This film poster for Pulheim Jam Session (2015) features a production still from Johanna Billing’s titular work. Billing’s film explores notions of locality, the logic of staging and participation. A traffic jam and a jamming session are two dissimilar scenarios, yet in Billing’s film their respective conditions and constraints are explored simultaneously. In its first iteration, Pulheim Jam Session took place as a participatory act within the confines of ‘Stadtbild.Intervention’, an outdoors project established in 1998 and supported by the city of Pulheim. Billing choreographed an assembly of more than 60 cars carrying over 100 people from the Pulheim region of Germany. The staged procession, marking the short commuting distance to Cologne, set off an intentional traffic jam in the countryside on a balmy Saturday afternoon.
 
Johanna Billing
Pulheim Jam Session, Line up, Film Poster, 2011
C-type print
100 x 70 cm
Edition of 50 + 10 AP
 
€200 (excl. VAT and shipping)

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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Johanna Billing

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This publication features texts and snapshots related to the production of the film, piano performance and live event, Pulheim Jam Session, staged in 2011.


‘The readily-made associations between “jamming” as a mode of musical performance and the traffic jam of cars are, of course, afoot. But beyond rehearsing this metaphor, Pulheim Jam Session also quietly circumscribes a loosely-defined set of social and historical conditions specific to Pulheim, to its incorporation as a city in 1975, and to its unique status in northern Europe as having one of the highest concentrations of automobiles.’

—James Merle Thomas

Johanna Billing
Pulheim Jam Session
Publisher: Stadt Pulheim, Kunsthochschule für Medien Köln, 2013
Texts: Johanna Billing, Lisa Schmidt and James Merle Thomas
Editors: Heike Ander, Angelika Schallenberg and Volker Zander
Design: Åbäke
26.5 x 26.5 x 1 cm, 42 pages, hardcover
ISBN: 9783942154253

£20

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Andrea Büttner

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In the work of 2017 Turner Prize nominee Andrea Büttner, 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)

Andrea Büttner

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Be it a nod to conventions of exhibition making or a totalising, panoptic view from above, Space (2017) draws out restrained attitudes and reserved judgements often encountered in the experience of designated public space, with each segment of Space characterised by synaesthetic fields of colour.
 
Andrea Büttner
Space, 2017
Woodcut on Japanese paper
59.2 x 78 cm
Edition 10 of 15 + 2 AP
 
€3,000 (excl. VAT and shipping)

Andrea Büttner

In Critique of Judgement (2012), Büttner constructs a constellation of images informed by her imagining of Immanuel Kant’s reflections in his writing of the Critique of Judgment (1790). This screen print on paper displays Büttner’s incisive organisation of variegated systems of knowledge, creating interrelations and signalling affinities among diverse image sources to provide an alternate means of articulating Kant’s philosophy. The Critique of Judgement (2012) was originally presented at documenta 13.
 
Andrea Büttner
Critique of Judgement, 2012
Screen print on paper
40 x 60 cm
Edition 3 of 10 + 3 AP
 
€2,500 (excl. VAT and shipping)

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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In parallel with Büttner’s exhibition at Museum Ludwig in 2015, an illustrated edition of Immanuel Kant’s Critique of Judgment (1790) was produced by the artist. Büttner constructs a sequence of images informed by her imagining of Immanuel Kant’s reflections in his writing of the Critique of Judgment (1790). A selection of historical pictures, among other marginalia, from Kant’s library as well as those culled from the public domain are purposely interspersed within this artist’s rendition of the complete text of Critique of Judgment. While providing a counter-image to Kant’s systematised knowledge production, Büttner’s own system affirms the traces of Kant’s philosophy while retaining its own aesthetic logic. Akin to a kind of heterogenous subtext, as Büttner expresses in the introduction to the book, the images which follow appear to have always been there, as though already invoked by Kant’s use of language. In certain instances, however, the images are used as devices which support, emphasise, or undermine the text—the spatial layout and negotiation of meaning at times complimentary, in others, challenging.

Andrea Büttner
Immanuel Kant Kritik der Urteilskraft
Publisher: Felix Meiner Verlag, Museum Ludwig
Hamburg, 2014
23.6 x 17 x 4.3 cm, 429 pages, hardcover
ISBN: 9783787327591

Limited availability

Andrea Büttner

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Liber Vagatorum (The Book of Vagabonds) is a book from the 16th 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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Knut Henrik Henriksen

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Knut Henrik Henriksen’s Eyeliner (2013–ongoing) is a site-specific architectural intervention that is both subtle and grandiose. With a simple gesture, Henriksen brings our attention to the physical structure of a space by drawing a line around select architectural features, such as extremities of a wall, laboriously marked using bright colours. This work can be remade and transposed across different spaces, from commercial spaces to domestic dwellings.

Knut Henrik Henriksen
Eyeliner, 2013–ongoing
Site-specific pastel crayon marking
Dimensions variable

£5,000 (excl. VAT)

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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Lubaina Himid

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This catalogue was produced on the occasion of Lubaina 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 Himid 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 is the first extensive monograph on the work of Turner Prize winner Lubaina Himid. The publication includes documentation from recent exhibitions and projects alongside archival images and the artist’s own writing from the 1990s to the present. 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.

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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Claire 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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Eline McGeorge

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This catalogue was produced following Eline 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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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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Falke 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)

Falke Pisano

Pisano’s series of schematic graphics titled The Body in Crisis (2011–13) are informed by examinations of shifts in conditions of life and exigencies related to the corporeal realm. 

‘I chose events and occurrences that would allow me to consider the definition of the subject, the perception of the body (along with the division between the body and mind), the forces at work on the body and what happens within the body, considering the body as a site of de- and reterritorialisation, and as the site where said conditions are actualised again and again.’

—Falke Pisano

 

Falke Pisano
The Body in Crisis, 2011
Inkjet print on paper
55 x 75 cm
Edition 1 of 3 + 1 AP

€3,000 (excl. VAT and shipping)

‘Paris 1968 was the context for Lygia Clark’s re-writing of the ideological disposition of the self and the body (and for the work Rede de Elástico, 1974, while she was in exile in Paris during the military dictatorship in Brazil.’

—Falke Pisano

 

 


Falke Pisano
The Body in Crisis, 2013
Inkjet print on paper
55 x 75 cm
Edition 1 of 3 + 1 AP

€3,000 (excl. VAT and shipping)

Falke Pisano

Pisano’s series of schematic graphics titled The Body in Crisis (2011–13) are informed by examinations of shifts in conditions of life and exigencies related to the corporeal realm.

‘I chose events and occurrences that would allow me to consider the definition of the subject, the perception of the body (along with the division between the body and mind), the forces at work on the body and what happens within the body, considering the body as a site of de- and reterritorialisation, and as the site where said conditions are actualised again and again.’

—Falke Pisano

Falke Pisano
The Body in Crisis, 2011
Inkjet print on paper
55 x 75 cm
Edition 1 of 3 + 1 AP

€3,000 (excl. VAT and shipping)

Falke Pisano

Pisano’s series of schematic graphics titled The Body in Crisis (2011–13) are informed by examinations of shifts in conditions of life and exigencies related to the corporeal realm.

‘Paris 1968 was the context for Lygia Clark’s re-writing of the ideological disposition of the self and the body (and for the work Rede de Elástico, 1974, while she was in exile in Paris during the military dictatorship in Brazil.’

—Falke Pisano

Falke Pisano
The Body in Crisis, 2013
Inkjet print on paper
55 x 75 cm
Edition 1 of 3 + 1 AP

€3,000 (excl. VAT and shipping)

Ruth Proctor

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Belonging to a series of ‘spray’ drawings from 2006, this work was produced by applying spray paint on objects placed on manuscript paper. Combining an action by the artist with the production of a fixed image, this work mines notions of absence, presence, performance and documentation that are central to Ruth Proctor’s multimedia practice.

Ruth Proctor
Untitled, 2006
Spray paint on manuscript paper
29.8 x 21 cm; 35 x 26 x 2.5 cm (framed)

£1,500 (excl. VAT and shipping)

Ruth Proctor

‘Later in the day, Proctor is sitting outside, pointing her camera phone at the sky. The cloud coverage is complete. A solar eclipse is happening for just over four hours, technically visible in our part of the world, so she attempts to film it. A passer by approaches: “Can you see anything?” “No, I’m just pretending to film something,” Proctor replies, and continues filming. In the end, a representative still taken from the video is a nondescript, impenetrable, solid grey.’

—Chris Fite-Wassilak
in Hollybush Issue 3

Ruth Proctor
Eclipse, 2015
C-type prints
15.3 x 20.5 (each)
Edition 1 of 3

£800 (excl. VAT and shipping)

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
118.9 x 84.1 cm
Limited edition

£100 (excl. VAT and shipping)

Charlotte Prodger

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Charlotte Prodger produced this work for her exhibition Charlotte Prodger at Künstverein Düsseldorf, 6 August – 16 October 2016. Akin to ceremonial wreaths, the flower vessel marked the entrance to the exhibition and duly functioned as a welcoming gesture to visitors. Made of powder-coated aluminium, the vessel positions itself between the industrial and the domestic, as it provokes consideration of the distinction between decor and art.

Charlotte Prodger
Verkehrs/Melon, 2016
Powder-coated aluminium vase, brackets in three parts and wild flowers
44 x 19.50 x 41 cm

£4,000 (excl. VAT and shipping)

Reto Pulfer

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In the style of a catalogue raisonné, Reto 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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