A both intimate and political account of the links between artistic practices and activism during the AIDS epidemic of the 1980s and 1990s in France and the United States—featuring monographic texts, interviews, and thematic essays.

This essay, written in the first person, is built around a series of monographic texts, interviews, and thematic essays, which constitutes an elective cosmology of a period of artistic and activist creativity in both France and the United States. Historian and art critic Elisabeth Lebovici discusses a variety of artists, protest organizations, artworks, and direct actions: ACT UP, “phone trees”, Richard Baquié, Gregg Bordowitz, Alain Buffard, Douglas Crimp, “political burials”, General Idea, Nan Goldin, Félix González-Torres, Gran Fury, L’Hiver de l’amour, Roni Horn, G. B. Jones, Eve Kosofsky Sedgwick, Zoe Leonard, Mark Morrisroe, William Ollander, “The Patchwork of Names”, The Real Estate Show, Lionel Soukaz, Philippe Thomas, Georges Tony Stoll, Paul Vecchiali, David Wojnarowicz, Dana Wyse, zaps…

Illustrated with numerous archives and ephemera that emphasize the importance of graphic works in the fight against AIDS, Ce que le sida m’a fait (What AIDS has done to me) is a necessary work to understand the “AIDS years”.

Produced on the occasion of the exhibition R. H. Quaytman – An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017 – 28 January, 2018. This text is published as an advance copy from the artist’s book R. H. Quaytman. An Evening, Chapter 32.

Józef Robakowski, a key figure of the 1960s and 1970s neo-avant-garde rebellion, is a master of structural cinema and a pioneer of Polish video art. In his practice he has tested viewers’ perceptual habits, developed ideas about mechanical recordings beyond any aesthetic convention, and criticized methods of visual persuasion in films, highlighting in particular the pompousness of political spectacles. A radical experimentalist and media analyst, Robakowski is known for his unique approach, “his own cinema,” in which autobiography replaces dubious history, and in which the artist proposes his own scenario for perceiving the reality of life under communism.

Produced on the occasion of the exhibition Enrico Baj – Play as Protest at the Cobra Museum voor Moderne Kunst Amstelveen, 4 February – 14 May, 2017. With contributions from Luca Bochicchio, Maurizio Cattelan, Carrie Pilto, Patricia Garvin and Hilde de Bruijn.

*Please note this publication is secondhand and has some traces of previous ownership.

Simryn Gill has developed a distinctive oeuvre that encompasses an array of media and processes, including drawing, installation and photography.

The series of relief prints Pressing In, 2016 was developed with Melbourne printmaker Trent Walter and are impressions taken off the surfaces of machine-shaped and hand-wrought timbers washed onto the shore in the vicinity of the artist’s studio in Malaysia. Various paper types are used, from a catalogue of butterflies, the locations of stars, the moral development of children, industrial design practice, and wage rolls and ledgers.

Signed, dated, numbered, edition of 2 + 1 ap.

Margaret Honda’s films grow out of a sculptural practice that privileges a material relationship to the medium above any narrative or representational concerns. Honda aims to reconsider the standards of film production protocols, often rearranging the order in which things are done or utilising only certain aspects of the production chain.