ANYA GALLACCIO

Doro Globus & Elli Resvanis (Eds.)

British installation artist Anya Gallaccio, now living in San Diego, works largely with natural materials—typically flowers, trees, sugar and salt—to create often site-specific installations focusing on the decomposition and transformation of the organic materials. Gallaccio’s work shifts between minimal approaches to form and a highly intuitive process. This exquisite monograph catalogues the artist’s work over 20 years of her impressive career (she was one of the Young British Aartists from the 1980’s, short-listed for the Turner Prize, withexhibitions at the Stedelijk and the TATE Britain). Numerous essays explore Gallaccio’s work; also includes an artist interview by Clarrie Wallis, andtexts by Lucía Sanromán, who investigates the role of the landscape; Norman Bryson analyzing the notion of ‘psychic fantasy’ in the installation blessed; Briony Fer, who discusses the artist’s use of natural light and earth; and Jan van Adrichem looking at Gallaccio’s move to bronze casts. If this is too long, take out the topics of the texts.

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BEATRICE GIBSON

The Tiger’s Mind

Filmmaker Beatrice Gibson is inspired by historical music practices that propose more egalitarian methods of production between composers and performers. In 2010, Gibson and typographer Will Holder began a project with the intention of using experimental British composer Cornelius Cardew’s musical score, The  Tiger’s  Mind (1967), as a guide to producing improvised speech. Since the verbally (rather than graphically) rendered score concerned the changing relations between six performers, practitioners from other fields were invited to conversa- tions at Künstlerhaus Stuttgart, Kunstverein, Amsterdam, and CAC Brétigny over the course of the next two years. Each conversation produced a printed document to serve as a score for subsequent meetings. This book is a document of their process, culminating in the making of Gibson’s eponymous film.

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