Three Moral Tales

Stemming from a series of works by Sidsel Meineche Hansen, this monographic catalogue offers a range of perspectives on urgent issues around gender, sexuality and labour in the digital age.

This book orbits “Second Sex War”, a series of works by Sidsel Meineche Hansen addressing political and ethical questions arising from the use of digital bodies in contemporary visual culture and the means of production and distribution for these commodities. Realising that the same avatars are used across the pornographic, gaming and cultural industries, she investigates the working conditions and relationships that structure these fields. Through numerous essays and conversations, Second Sex War, the book, emphasises her collaborations with various practitioners (animators, musicians, writers) and the way they have inflected her practice. Media theorist Helen Hester (author of the Xenofeminist manifesto) reflects on the limitations of the porn industry and the use of female avatars. Artists collective Radclyffe Hall talks to photographer Phyllis Christopher about early lesbian erotica magazine in the 1980s. Linda Stupart compiles quotes by Sara Ahmed, Kathy Acker and Ursula K. Le Guin to consider what is radical sex today.  Artist Hannah Black's contribution, which opens the publication, reads like a manifesto for artists being crushed under the weight of current political circumstances. 

Edited by Sidsel Meineche Hansen and Robert Leckie.

Texts by Robert Leckie, Hannah Black, Helen Hester, Phyllis Christopher & Radclyffe Hall, Linda Stupart, Josefine Wikström. Entretiens with Helena Vilalta, James B Stringer, Melika Ngombe Kolongo (Nkisi) by Sidsel Meineche Hansen.

Eleven performance-based projects by Dora García, documented through letters, emails and other elements from the artist's private correspondence with various interpreters of performances, whether they were direct collaborators of simple spectators.

Edited and prefaced by François Piron, Steal This Book, a tribute to Abbie Hoffmann's pamphlet of the same name, is not a definitive attempt at rendering the pieces on which it is based; it calls for a free, active and contradictory reception, that of an open archive. Part epistolary novel, part rough screenplay and part user's manual, Steal This Book proposes a body of discussions, questions without answers and endless ramblings, in place of the critique's or the artist's voice. 

The book has also been presented in exhibitions as a Dora García sculpture meant to be stolen, but it can also be purchased in selected bookstores worldwide.

Contrary to the idea that would have art addressing the greatest possible number of people, Dora García (born in 1965 in Valladolid, lives and works in Barcelona), best known for her performance devices, is interested in what is enacted at the individual scale: in a radically conceptual form, at once accessible and elegant, she elects to transmit oddly coded messages, their ask being to bestir a specific relation with each and every visitor. Dora García is interested in everything that intervenes in the communication between an artist and his/her public: art no longer represents the world, but itself becomes a producer of realities often on the borderline of fiction and make-believe. It urges us to undergo experiences other than ordinary situations, at once simple and hard to grasp. 

Dora García has had solo exhibitions at the MACBA in Barcelona, the Reina Sofia in Madrid and the SMAK in Gent. She represented Spain at the Venice Biennale in 2011, and was a part of the Skulptur Projekte Münster 07, the Sydney Biennial in 2009, the Biennale de Lyon in 2009 and Documenta 13 in 2012.

Publication devoted to the only statement the Belgian artist has ever published about his own work.

Those familiar with Guy Mees know that he used the enigmatic title Lost Space to describe two major bodies of work, distinct in origin and form, and separated by a gap of more than twenty years: the geometric objects and panels covered in lace created in the 1960s, and the works he started producing in the 1980s featuring colour paper cutouts pinned to walls. This publication is dedicated to a lesser-known chapter in this story: the writing process of a short text entitled, likewise,The Lost Space. An ambiguous manifesto for Mees' work, the text went through a number of revisions, with Mees contributing suggestions, but never authoring it himself. This book reproduces eight extant versions of the text for the first time, in facsimile and typographic transcription as Richard Hamilton did with the Large Glass notes of Marcel Duchamp.

Published on the occasion of Guy Mees at MU.ZEE, Ostende, in 2019.

Limited edition of 350 copies.
 
Guy Mees (1935-2003) is a Belgian artist whose oeuvre encompasses photographs, videos, sculptures, and fragile works on paper that combine formal rigor with delicacy and a conceptual approach. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied arts.

Edited by Lilou Vidal.
Graphic design: Joris Kritis.

Curator, art historian, writer Chus Martínez and writer and curator Filipa Ramos bring together a group of artists who have been using clay, pottery and ceramics to imagine, project and shape the world they live in.

Some may associate clay, pottery and ceramics to tradition, and tradition to the past. Some may associate technology, digital communication and data with the new, and the new with the future. What if the future is only a technology as old and unusual as clay? What if clay is a matter that renews itself constantly and gives time its unpredictable configurations?

What if clay is the future and the future is clay? And if the feet of clay only reveal a vulnerability because the rest of the body is made of a different material? And if the feet of clay are actually rooting people to the earth, connecting them through the same matter? And if feet of clay are a way to establish a post-technological communication that requires no webs, no networks, no cables; only our many, one, two, eight, twenty feet and some clay?

These are some of the questions and enigmas addressed by curators Chus Martínez and Filipa Ramos, who brought together a group of artists who have been using clay, pottery and ceramics in an exhibition entitled Feet of Clay, presented at Galeria Municipal do Porto in 2021. Like clay, the project has now been moulded into book format, bringing together exclusive texts and interviews with the participating artists: Neïl Beloufa, Isabel Carvalho, Gabriel Chaile, Pauline Curnier Jardin, Formabesta (Salvador and Juan Cidrás), Tamara Henderson, Ana Jotta and Eduardo Navarro.

Texts by Neïl Beloufa, Isabel Carvalho, Gabriel Chaile, Pauline Curnier Jardin, Formabesta (Salvador e Juan Cidrás), Tamara Henderson, Ana Jotta, Chus Martínez, Eduardo Navarro, Filipa Ramos.

Death Book is dedicated to Bruce LaBruce’s archive of rarely published or previously unpublished work characterized by morbid fascinations. Here photographs challenge the viewer to explore what lies beneath the veneer of Western society.

The book brings this body of work together for the first time, combining LaBruce’s performances, actions, film production stills and photography that explicitly outline his obsessions, with never-before exhibited archival works from projects including Hustler White, Otto; or Up with Dead People, and L.A. Zombie.

The book is edited as loosely connected vignettes, characterised by horror, the carnage accelerated rather than overcome, questioning existing values, hierarchies, and perceptions of good and evil. A variety of faces and body parts appear, including those of actors Francois Sagat and Tiger Tyson, model/actor Tony Ward, artists Kembra Pfahler and Slava Mogutin, and cameos by legendary figures such as performance artist Ron Athey, musician/artists Genesis P-Orridge and Lady Jaye, artist Dash Snow, actor Brad Renfro, Asia Argento and Bruce LaBruce himself.

The Death Book also introduces the art director Max Siedentopf, who has designed the book as a paraphrase of the Bible, punctured with three bullet holes, piercing the book from front to back. The book contains an introduction by artist, photographer and writer Slava Mogutin.

ACCESS/EXCESS (coercion, proliferation & mutation)

Contributions by Bob Ajar, Maziar Afrassiabi, Sam Basu, Matt Calderwood, John Chilver, Rhys Coren, Patrick Coyle, Arnaud Desjardin, Catherine Hughes, Thomas Lock, Paul McDevitt, Sean Parfitt, Cornelius Quabeck, Chico Stockwell and Katarina Zdjelar.

Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

Published to accompany the artist’s first retrospective exhibition, Teddy Sandoval and the Butch Gardens School of Art examines the work of the inventive yet overlooked Teddy Sandoval, a central figure in Los Angeles’s queer and Chicanx artistic circles. Sandoval was known for producing subversive and playful artworks in a range of media that explored the codes of gender and sexuality, particularly conceptions of masculinity.

This publication surveys Sandoval’s work alongside other queer, Latinx, and Latin American artists whose practices profoundly resonate. This expansive catalogue features essays by C. Ondine Chavoya, David Evans Frantz, Raquel Gutiérrez, and Mari Rodríguez Binnie, as well as biographical entries on other artists featured in the exhibition, including Félix Ángel, Myrna Báez, Álvaro Barrios, Ester Hernández, Hudinilson Jr., Antonio Lopez, María Martínez-Cañas, Marisol, and Joey Terrill.

Design by Content Object
Co-published by Inventory Press, Williams College Museum of Art, Vincent Price Art Museum, and Independent Curators International

In her new book, Mina Fina continues to explore the themes of representation of the female body. Through her interventions to the images from old erotic magazines, she questions the normatives of body acceptance and places it into abstract compositions that are half drawings, half collages.