Mathias Poledna’s artistic practice is informed by historical research, archives and collections. His film Western Recording shows a recording session in the legendary Studio 3 at United Western Recorders, a studio that has remained largely unchanged since the early 1960s because of its special sound. From the multiple referential fields alluded to by this setting, as well as the inherent tension between its current function and historical significance, Poledna creates a hybrid historical constellation that combines a reinterpretation of the 1969 song “City Life” along with the appearance, the habitus, and the performance of the musicians.

Designed by Mathias Poledna.

Produced on the occasion of the exhibition De Afstand, at Witte de With Center for Contemporary Art (1 September 1990 – 7 October 1990).

De Afstand investigated the relationship between photography and reality, by way of the concept of distance. The selected works focused on the representation of nature. Historically, the genre of the landscape painting had presupposed a specific viewing distance as well as the display of a changing continuity and unity in a tableau. The camera, however, cannot present such a unifying picture of nature. It cannot keep a distance. It functions rather as an analytical instrument, cutting like a scalpel into the continuity of the visible world.

Participating artists were: Jean-Marc Bustamante, Paul-Armand Gette, Andreas Gursky, Raoul Hausmann, Craigie Horsfield, Jean-Luc Moulène, Thomas Struth, Christopher Williams.

Produced on the occasion of the exhibition No Rocks Allowed., curated by Haim Steinbach, in Witte de With Center for Contemporary Art (October 17 – November 29, 1992). This book, a photo album compiled and designed by Steinbach himself, serves as a continuation of the exhibition, including the work of; Bas Jan Ader, Marcel Broodthaers, James Joyce, Joseph Kosuth, Cas Oorthuys, Klaus Rinke, Gerry Schum, Shelly Silver, J.J. Slauerhoff, the Van Toer family, G. Lee Thompson and Lawrence Weiner.

Published in conjunction with the artist’s comprehensive exhibition retrospective curated by Miguel A. López, and held at Witte de With from May to November 2019.

This publication gives an overview of Vicuña’s artistic practice as a poet, visual artist, and activist from the 1960s to the present day. It is edited by López, designed by Studio Manuel Raeder, Berlin, and includes a forward by Sofía Hernández Chong Cuy, new essays by Miguel A. López, Julia Bryan-Wilson and Carla María Macchiavello, existing essays by Lucy Lippard and Dawn Adès and an anthology of texts authored by Cecilia Vicuña.

It includes color and black and white photography of more than 120 artworks by Vicuña, encompassing the full range of Vicuña’s body of work: textiles, poetry, performances, film, collages, drawings, paintings, precarious objects, and activism. A chapter in the book is especially devoted to these images, which are organized in four thematic sections.

This catalogue was produced in conjunction with the exhibition series Cosima Von Bonin, The Lazy Susan Series, A Rotating Exhibition 2010-2012 shown at the following venues:

Cosima Von Bonin’s Far Niente, at Witte de With, Center for Contemporary Art, Rotterdam, October 10, 2010 – January 9, 2011

Cosima Von Bonin’s Bone Idle, at Arnolfini, Bristol, February 19 – April 25, 2011

Cosima Von Bonin’s Zermatt! Zermatt! Z…ermattet!, at Mamco, Genf, June 8 – September 18, 2011

Cosima Von Bonin’s Cut! Cut! Cut!, at Museum Ludwig, Köln, November 5, 2011 – May 14, 2012

Design by Yvonne Quirmbach

Published on the occasion of the exhibition John Knight – Some Works, 7 April – 20 May 1990 at Witte de With, Rotterdam. Benjamin H.D. Buchloh, Knight’s Moves: Situating the Art/Object Anne Rorimer, John Knight: Designating the Site

Since 1969, American artist John Knight (1945) has concentrated on the relationship between architecture, design and art. He bases his work on the interplay between the material object and its contextual conditions, and comments on the meaning of cultural object and cultural space by employing strategies that invert the conventions of production and reception. See more on the show here.