Produced on the occasion of Rosemarie Trockel’s exhibition Dessins, 11 October 2000–1 January 2001 at Centre Georges Pompidou, Paris.

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

Produced on the occasion of Richard Tuttle’s participation in the group exhibition Das kleine Spiel zwischen dem Ich und dem Mir: Kunst und Choreografie at Kolumba Museum, Köln.

This early piece by Richard Tuttle consists of 10 drawings laid out on the floor using pieces of string. The traces of physical gestures that are incorporated into the piece open up a field of possibilities, enabling the visitors to become actors with their own agency. The notation for this piece is documented here and a video of the performance can be seen here.

A selection of works on paper by Swiss visionary outsider artist and healer Emma Kunz, close to geometric abstraction, produced on the occasion of the exhibition Cosmos Emma Kunz at Aargauer Kunsthaus in 2021.

Kunz is said to have become aware of her special clairvoyant and radiaesthetic [radiation- reading] abilities at an early age. She began to heal her first patients and to work with the divining pendulum that she would use in her drawings from 1938 onwards. Until a few years before her death she produced some 500 characteristic drawings on graph paper, which she used as a tool for her healing activity. She also worked with numerology, researched in the field of herbalism and achieved a legendary series of healing successes. At this time she began to ask her acquaintances to call her “Penta”. In 1942 Emma Kunz is said to have discovered Aion A, the healing rock that is still available from Swiss pharmacies, in a quarry in Würenlos that had been used since Roman times—and is known today as the Emma Kunz Grotto.

For more than twenty years, Jean-Luc Moulène has developed a complex body of work, both analytical and mysterious. Moulène’s works explore the question of representation in his chosen media, while at the same time drawing on their essential physicality and materiality to engage tirelessly with political, social and ontological issues ‘made flesh’—notably through the concept of ‘transaction’.

This monograph spans forty years of drawings and works on paper, offering an insight into a lesser-known part of Moulène’s artistic practice. A jubilant documentation rich with autobiographical elements.