FABIAN MARTI

Bilder 2005–2016

LA- and Zürich-based Swiss artist Fabian Marti’s visual narratives of photograms and collages create both a tactile and mystical experience in this excellent artist monograph. Bilder is a trip through visual realms: the milky white of mountain crystal, the raw dun of rock caves, the sandy beige of Greek ruins. Combining digital and analog—photograms and appropriated photographs—Marti collapses past and present in monochromatic images that evoke ancient symbolism. The installations featured in the Kunstmuseum Luzern exhibition combine sculpture, drawing, video and large photograms. One series even explores the origins of LSD, from the deadly fungus that infected rye fields and decimated thousands in the Middle Ages to its refinement into the most important mind-altering drug of the 20th century. Accompanying essay by Irish philosopher Paul J. Ennis explores Marti’s fascination with the mystical and hallucinogens and the influence of constructivism on the artist’s photograms and collages.

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MARY HEILMANN & BLINKY PALERMO

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.

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CHRISTOF MASCHER 1979

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MATERIAL EVIDENCE

Melissa Gordon

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.

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MATT MULLICAN

That Person’s Workbook

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CARLOS MATTER

Learning from Liz

Fabienne Eggelhöfer

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MAXIM KOMAR-MYSHKIN: VLADIMIR’S NIGHT

Roee Rosen

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.

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Ralph Müller

Wum

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JOSEPHINE MECKSEPER

10 minutes after

For the last 20 years, New York–based German contemporary artist Josephine Meckseper’s practice has interrogated consumerism, politics and art history through juxtapositions of images and objects. Drawn from the visual and material cultures of protest and political activism, advertising, cinema and early 20th-century display architecture, Meckseper’s works are visually confrontational yet subtle, relying on strategies of infiltration. In her new work, 10 minutes after, Meckseper (b. 1964) deploys the readymade object as a form of “analog recording device” in which found materials—shelves, wall vitrines, display racks—become repositories of social, cultural, political and economic significance. The oversized softbound publication, designed by ZAK Group, presents Meckseper’s recent exhibition at Timothy Taylor, A gallery of “psychoimages”, as both a document and artist’s book. Two insightful essays are included by independent curator/writer Piper Marshall and writer/editor Domenick Ammirati. Her work is extensively collected throughout Europe and the US including the Whitney, MoMA, and Metropolitan Museum of Art in NY ; Museum of Contemporary Art, Chicago; and more.

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Josephine Meckseper

The Josephine Meckseper Catalog

John Kelsey and Andrew Ross

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