Before the Curtain. Avant le Rideau
mark’s works are often an investigation of seemingly commonplace situations. “… tools, a form of communication concentrated upon the moment. The impulse for this is an idea, the idea of comprehending the ‘world’ and its rules in order to question them. The questioning of inherent rules, the shifting of the frame of reference, and the continuation of discussion are the methods of our artistic practice and expression of our attitude. We are undoubtedly involved in the economics of the art market, irrespective of whether we profit from them or not. We are subject to a kind of absorption out of which we develop a practice which can in turn absorb those conditions: as a specific framework, a system of rules and parameters with which we and the people we collaborate with can deal. […] Sometimes we forget that others are less familiar with critical conceptual art than we are. As a result, we operate from a general understanding and within a broad acceptance instead of from the periphery. It is important for us to proceed from a specific context. Concentrated upon the situation, we develop our work which does not gear itself to a professional future – this certainly represents one of the notable advantages of working within a collective.” In 2009 mark had a photo taken at the Regent Photo Studio on the Avenue du Parc in Montréal and recorded the photographer’s instructions. They subsequently developed the text from this as part of an installation at WE LEFT THE WARM STABLE AND ENTERED THE LATEX VOID (WLTWSAETLV). The text also constitutes the material of this book. mark is a collective of five artists who live in Berlin, Bremen, and Vienna respectively. mark’s artistic practice draws upon professions in the fields of architecture, fine art, design, and the social services. Individual members have run spaces in Bremen in which installations, performances, and talks by other artists have been staged.
December 2011 / Numbered edition of 500
Softcover / 5 1/8 x 7 inches / 48 pp / 1 color
ISBN: 978-3-940215-14-7 · Retail Price: $22.00
KW Pocket 1
Ellen Blumenstein (Ed.)
With Markierung (Markings), the KW Institute for Contemporary Art and Spector Books initiates a series of pocket-sized, polymorph publications that will be produced together with artists who have exhibited, intervened, or performed at the Kunst-Werke. Within the framework of the exhibition Relaunch (2013), artist Nedko Solakov and curator Ellen Blumenstein walk through the building in Berlin’s Auguststrasse together commenting on the markings that Solakov “tagged” with a black marker on walls, windows, passages, and doors of the institution. The markings revolve around the building’s present and presence, allow its past to resurface, and sketch out ideas for its future. They act as an appropriation of the space and simultaneously as self-representation of an institution.
kw , BERLIN
January 2015 / English & German
Exhibition catalog / Softcover / 4 1/2 x 6 1/4 inches
160 pp / Full b&w
ISBN: 978-3-944669-37-3 · Retail Price: $18.00
The Luxembourg Pavillion Biennale 2015
Paul Ardenne (Ed.)
Dance, performance, film, karaoke and readings fuse politics and pop in Paradiso Lussemburgo, artist, author and musician Filip Markiewicz’s (b. 1980) installation at the Luxembourg Pavilion of the 56th Venice Biennale. Markiewicz’s subject is the projected and historical realities of Luxembourg itself. In both installation and reader, Markiewicz creates a journey through layers of the country’s projected labels (such as tax haven) and waves of immigration that speak to its blended sense of European nationality in search of its identity. The reader continues, in the words of the artist, a “new contemporary mythology of Luxembourg,” with the bilingual layering of drawings, text and analysis, exhibition views, an interview and a film script. Paradiso Lussemburgo, a project proposed by Markiewicz and curator Paul Ardenne, creates an active theater in Venice, which the reader continues, inviting further participation. Writings by Paul Ardenne, Josée Hansen and Ingo Niermann.
October 2015 / English & French
Hardcover / 6 3/4 x 9 1/2 inches / 41 b&w and 61 color
ISBN: 978-3-95679-133-8 · Retail Price: $28.00
Mary Blinky Yay!
There is certainly something of-a-kind about Mary Heilmann’s alternately diaphonous and goopy supersaturated canvases and the rainbow-hued fabric paintings of Blinky Palermo. Heilmann’s work finds coded expression in her images, linking figuration with abstraction, pictoriality with pictorial narration and avoiding the one-dimensionality of a clearly identifiable statement. When the American artist was invited to organize a solo exhibition at the Kunstmuseum Bonn, she decided to stage her work in a tête-à-tête with the museum’s rich collection of Palermo’s minimalist paintings and wall objects, speculating that she would find in his work a related sensibility and comparative proficiency vis-à-vis their shared interest in skirting the dogmas of modernism. This resulting catalog includes essays from Stephan Berg, Stefan Gronert, Georg Imdahl, Christoph Schreier, Bernhart Schwenk and Stephen Westfall.
KUNSTMUSEUM BONN, GERMANY
September 2013 / English & German
Exhibition catalog / Hardcover
7 3/4 x 10 1/4 inches / 96 pp / 75 color
ISBN: 978-3-86442-055-9 · Retail Price: $39.95
2009 / English & German / Exhibition catalog Softcover / 7 3/4 x 10 inches / 64 pp / 34 color
ISBN: 978-3-940953-05-6 · Retail Price: $35.00
American-born, London-based artist Melissa Gordon’s works are a thoughtful— and gorgeous—meditation on the technical qualities of printmaking. This catalog introduces a new body of work produced by the artist during her recent joint residency with Spike Island and Print Studio in Bristol. This first monograph on Gordon’s emerging career features reproductions of the oversized silkscreens—some over 20 feet high—that were installed like abstract hybrids of Bauhaus color studies and Wade Guyton’s inket “paintings.” She often enlarges details to reveal hidden structures, zooming in until textual or pictorial information is reduced to dots and lines. The publication navigates through four concurrently exhibited and ongoing series (Structures for Viewing, Blow Up Modernists, The Daily News RIP, and Material Evidence), and includes a reprint of the early modernist play Collision by Mina Loy, which contextualizes Gordon’s concern with pictorial staging. Text from Marina Vishmidt and an interview with the artist by exhibition curator Marie-Anne McQuay.
July 2014 / Exhibition catalog
Softcover / 8 ½ x 11 inches / 64 pp / 28 b&w and 13 color
ISBN: 978-3-95679-033-1 · Retail Price: $28.00
That Person’s Workbook
2008 / Hardcover / 8 1/2 x 13 1/2 inches 744 pp / extensive color
ISBN: 978-1-905464-06-7 · Retail Price: $118.00
Learning from Liz
2007 / Hardcover / 8 1/4 x 5 1/2 inches
136 pp / 120 color
ISBN: 978-3-936859-53-9 · Retail Price: $55.00
Roee Rosen is a painter, filmmaker, and writer whose work interrogates structures of power, trauma, and evil. His often grotesque, macabre, and obscene works evoke a sense of realism in the face of the structural violence of a world where victims turn perpetrators and terror bears the name of the rule of law. Rosen’s Vladimir’s Night is the imaginary final writing by Israeli-Russian artist Efim Poplavsky (1978–2011)—known by pseudonym Maxim Komar-Myshkin (“the mosquito-mouse”), a fictional figure created by Rosen. Poplavsky, who committed suicide in 2011, is described by Rosen as a Jewish immigrat to Israel from Russia who suffered from severe paranoia, believing that Putin himself wanted him dead. The album Vladimir’s Night is an act of personal revenge calling upon the aesthetics of Soviet children’s books for aid.
GALERIA LABIRYNT, POLAND
Release Date: October 2014
8 1/4 x 12 inches / 174 pp / 68 b&w and 39 color
ISBN: 978-3-95679-059-1 · Retail Price: $34.00
2008 / English, Italian & German / Hardcover
8 1/2 x 11 inches / 96 pp / 51 color
ISBN: 978-3-936859-92-8 · Retail Price: $54.00