Keren Cytter, A–Z Life Coaching, Sternberg Press, 2016
An incomplete guide for life. Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold.
The form of life coaching described in this book won’t lead the reader to social recognition or financial success. If one of the two occurs after reading this text, it is a coincidence. This book aims to expose the owners of an innocent heart to reality’s true structures and to utilize them for spiritual growth so their soul and body evaporate into the abstract.
This book was written from the middle. The contents of these pages have been modified numerous times. Notes were taken, ideas were rewritten—the ones that survived bare the most essential guidelines and wisdom for life.
Isabelle Graw, Ewa Lajer-Burcharth, Painting beyond Itself: The Medium in the Post-medium Condition, Sternberg Press, 2016
In response to recent developments in pictorial practice and critical discourse, Painting beyond Itself: The Medium in the Post-medium Condition seeks new ways to approach and historicize the question of the medium. Reaching back to the earliest theoretical and institutional definitions of painting, this book—based on a conference at Harvard University in 2013—focuses on the changing role of materiality in establishing painting as the privileged practice, discourse, and institution of modernity. Myriad conceptions of the medium and its specificity are explored by an international group of scholars, critics, and artists. Painting beyond Itself is a forum for rich historical, theoretical, and practice-grounded conversation.
Contributions by Carol Armstrong, Benjamin H. D. Buchloh, Sabeth Buchmann, René Démoris, Isabelle Graw, David Joselit, Jutta Koether, Ewa Lajer-Burcharth, Jacqueline Lichtenstein, Julie Mehretu, Matt Saunders, Amy Sillman.
Yann Chateigné, Markus Miessen, The Archive as a Productive Space of Conflict, Sternberg Press, 2016
This applied research project and publication deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization of knowledge is productive—to the effect that it generates a narrative and / or history—the project focuses specifically on archives becoming productive due to their spatial framework.
With contributions by Philippe Artières, Stuart Bailey, Bassam El Baroni, Thomas Bayrle, Jeremy Beaudry, Beatrice von Bismarck, BLESS, Boris Charmatz, Beatriz Colomina, Céline Condorelli, Mathieu Copeland, Dexter Sinister, Michel Giroud, Kenneth Goldsmith, Joseph Grima, Nav Haq, Sandi Hilal, Nikolaus Hirsch, Thomas Jefferson, Christoph Keller, Christophe Kihm, Alexander Kluge, Joachim Koester, Pierre Leguillon, Franck Leibovici, Armin Linke, Markus Miessen, Julia Moritz, Rabih Mroué, Hans Ulrich Obrist, Seth Price, Walid Raad, Alice Rawsthorn, Patricia Reed, David Reinfurt, Claire de Ribaupierre, Eyal Weizman.
K.D., Headless, Sternberg Press, 2015
When workaday author John Barlow is asked to ghostwrite a novel about secretive tax havens, he assumes the job will be straightforward. Then he learns that his employers, Swedish conceptual artist duo Goldin+Senneby, want him to investigate Headless Ltd, a shadowy company with possible links to French philosopher Georges Bataille, famed for his fixation with human sacrifice. Barlow travels to Nassau, the mecca of offshore finance, to uncover the plot. He is not alone. A beautiful, mysterious woman is also seeking the truth about Headless—and about Barlow. One day the ghostwriter is happily posting to his travel blog; the next he is implicated in the decapitation of a police officer, consumed by the dark world of covert capitalism and secret societies. Barlow’s probing becomes desperate. The more he grasps at the threads of the labyrinthine plot, the closer he comes to madness.
John C. Welchman, Past Realization: Essays on Contemporary European Art XX–XXI, Vol. 1, Sternberg Press, 2016
This volume is a collection of dynamic and engaged writings by art historian John C. Welchman on a range of contemporary European artists: Vasco Araújo, Cosima von Bonin, Jan De Cock, Orshi Drozdik, Susan Hiller, Andy Hope 1930, Michael Kunze, Nathaniel Mellors, Miguel Palma, José Álvaro Perdices, Sascha Pohle, Thomas Raat, Nicola Stäglich, and Xavier Veilhan. Anchored in concerns that emerged in the late 1960s and 1970s, Welchman poses thoughtful and provocative questions about how these artists receive and negotiate the social and aesthetic histories through which they live and work.
Design by Metahaven.
Valérie Knoll, Hannes Loichinger, Magnus Schäfer, Dealing with—Some Texts, Images, and Thoughts Related to American Fine Arts, Co., Sternberg Press, 2012
The New York gallery American Fine Arts, Co.—whose name today is largely synonymous with that of its gallerist, Colin de Land (1955–2003)—represents a gallery practice in which a decided deviation from conventional models overlaps with successful activities within the framework of the art market. Today, American Fine Arts, Co. and de Land figure as uncontested projection screens for the desire for independence from or bohemian resistance against the dictate of the market. Particularly in retrospect, a consistent image of the gallery is not discernible. Faced with the obvious risk of romanticization, it appears all the more important to pursue an understanding of how American Fine Arts, Co. functioned as a gallery.
With contributions by Andrea Fraser, Manfred Hermes, Karl Holmqvist and Tobias Kaspar, Isla Leaver-Yap, Jackie McAllister, James Meyer and Christian Philipp Müller, Magnus Schäfer, Axel John Wieder, Phillip Zach; a conversation between Colin de Land, Josef Strau, and Stephan Dillemuth; and an introduction by Hannes Loichinger and Magnus Schäfer.
Mark Von Schlegell, Sophie von Olfers, Hamlet, mise-en-scène: EXTRA TROUBLE—Jack Smith in Frankfurt, Sternberg Press, 2015
The publication brings together extensive material from Hamlet, mise-en-scène presented at Portikus, along with recently restored as well as never-published stills, drawings, and writings by American filmmaker and artist Jack Smith, related to his film Hamlet in the Rented World (A Fragment) (1970–73).
Hamlet, mise-en-scène, directed by Mark von Schlegell, was an adaptation that retold Shakespeare’s most abused tragedy while channeling the ghost of Jack Smith. The two-night rendition of Hamlet was performed by members of Städelschule’s Pure Fiction seminar, presented here alongside a rare selection of works by Smith, both from private collections and from the Jack Smith Archive.
With texts by Sylvère Lotringer, Birte Löschenkohl, Sophie von Olfers, Laura Preston, Juliane Rebentisch, Mark von Schlegell, et al.
Angie Keefer, Stuart Bailey, David Reinfurt, Bulletins of the Serving Library #6, Sternberg Press, 2014
This issue poses as a retroactive non-catalog for the group exhibition White Petals Surround Your Yellow Heart at the Institute for Contemporary Art at the University of Pennsylvania curated by Anthony Elms. As such, its nominal theme is Fashion. Bulletins from the edges of that world are from Angie Keefer, Robin Kinross, Joke Robaard, Brian Eno, Nick Relph, Eli Diner, Chris Fite-Wassilak, Stuart Bailey, Sarah Demeuse, Adloph Loos, Kuki Shûzô, Sanya Kantarovsky, and Perri MacKenzie.