Produced on the occasion of the exhibition Beaux Arts et Arts Appliqués at the Musée de Cosne sur Loire, 1990.

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

Produced on the occasion of the exhibition James Welling, Vikky Alexander, 12 May–24 June, 1990 at Kunsthalle Bern. With a text by Bruce W. Ferguson. You can find more information on the exhibition here.

Vikky Alexander has worked in photography, sculpture, and installation since the 1980s. Her work is characterized by an ongoing consideration of illusion and desire within design and architecture. Through the appropriation of images of people and landscapes, Alexander recognises the artificial as a space of utopian fantasy that is built into design and photographic advertisements.

German artist Blinky Palermo has been associated with distinct 20th-century art practices, from Abstraction to Minimalism and Conceptual art. Throughout his brief and influential career—leading all the way up to his untimely death at the age of 33, Palermo executed paintings, objects, installations, and works on paper that mined various contextual and semantic issues at stake in the construction, exhibition and reception of works of art.

As a representative of concrete-minimal art Charlotte Posenenske was among Germany’s leading artists in the 1960s. She aspired to a clear, hard realism of form, production, distribution and reception—all conditions that in the context of the 1968 movement meant changing society. In 1968, having come to the conclusion that art ultimately cannot have sufficient political impact Posenenske took the radical step of giving up art altogether.

She went on to study sociology and worked as a social scientist. Even though she could not envision political issues being pursued within a conceptual approach, it later became clear that she had formulated important aspects in her art that only came to bear in Concept Art in the 1970s. These aspects included the variability of objects, participation in production, the inclusion of a specific situation, a social context and institutional critique.—Between Bridges, 2007

Produced on the occasion of Robert Barry’s 1990 exhibition at the Haags Gemeentemuseum, Den Haag. Introduction by Rudi Fuchs, text by Franz Kaiser.

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

Produced on the occasion of Jean-Marc Bustamante’s exhibition at de Appel, 17 March–22 April, 1990. With a text from Saskia Bos, designed by Irma Boom.