Produced on the occasion of the exhibition Anna Daučíková at Secession, Vienna, 16 September–6 November 2022. Anna Daučíková is a pioneer of feminist-queer art in Slovakia and the Czech Republic. Teaching for many years at art academies in Bratislava and Prague, and in recent years at the Salzburg Summer Academy, she counts to the most influential forward thinkers in the area of queer theory and practice.

Produced on the occasion of Manfred Pernice’s exhibition sculpturama at Secession, Vienna, 26 November, 2010–13 February, 2011. With texts from Verena Dengler, Klaus Gölz, Axel Jablonski, Bettina Klein, András Pálffy, Stephan Schmidt-Wulffen, Hemma Schmutz and Annette Südbeck.

Produced on the occasion of the exhibition RINO at Mai 36, Zurich. The exhibition and the catalogue present a collaboration between Manfred Pernice and Martin Städeli and deal with Marino Marini and the Marino Marini Museum in Florence.

On the levels of both form and content, Breath Holding Spell unmistakably harks back to Bruce Nauman’s 1970 artist’s book LA AIR, whose eight monochrome pages present photographs of the atmosphere, illustrating the widely varying hues of the air over L.A.

It inspired this artist’s book by Nairy Baghramian, which features variations on a single photographic motif: no more than a cropped detail of a tightly packed standing crowd of people is visible in Tight Sluice. Monochrome pages that reprise the colors of their attire appear in rhythmical alternation with the pictures.

The artist has autographed the books on the back cover, again quoting Nauman, though his signature was a printed facsimile.

This book features 323 photographic images by B. Ingrid Olson, all taken in 2021. Near sunset, the artist often constructs provisional sculptural arrangements of raw materials, found objects, remnants of her other works, and studio detritus. Carefully stacked or precariously balanced, each temporary assemblage is documented in the evening, when the cast light creates long shadows, accentuating the shapes and textures at hand. The formations are adjusted across multiple images, creating varied sets of near repetitions that evidence Olson’s quick decisions, minor adjustments and the movement of light and shadow at the end of each day.

Initially, inspired by the experimental visual poetry of the mid-sixties, Ketty La Rocca critically investigated questions of communication in the age of mass media. She soon began addressing herself in her work as both an artist and a woman in a desire to find “another” language to express difference and the non-identical. She worked with collage, photography, video, text, drawing, and performance to develop a language of gestures and appropriated imagery of disempowerment. But her work was only granted the short time span of a decade’s production, during which she underwent a rapid artistic development with enormous energy and intelligence.

This book is the first international monograph on Ketty La Rocca’s works and writings. With texts by Emi Fontana, Pier Luigi Tazzi, Angelika Stepken and Ketty La Rocca