Kapwani Kiwanga (b. 1978, Hamilton, Canada, lives in Paris) traces historical narratives, excavating and considering the global impact of international relationships--including colonialism--in its manifold aspects, and how it permeates contemporary culture. Unveiling the pervasive impact of power asymmetries by placing narratives from the past in dialogue with contemporary realities, the archive, and tomorrow's possibilities--as in her most exhibited project&nbsp;Flowers for Africa, begun in 2013--her work is research-driven, instigated by marginalized or forgotten histories, and articulated across a range of materials and mediums including sculpture, installation, photography, video, and performance. Materiality and the economics of material production is a recurring element in Kiwanga's work, pointing to exploitation and how it manifests between politics and culture. Informed by her own biography--raised in working-class Canada, spending time with family in Tanzania, and living in France for over a decade--she is interested in the multiplicities of perspective inherent in chronicling social and political moments. With a background in anthropology and social sciences, Kiwanga embraces a subjective reading of the archive, exploring ideas around belief, mythology, and impermanence. Kiwanga co-opts the canon; she turns systems of power back on themselves, both in art and in parsing broader histories. In this manner Kiwanga has developed an aesthetic vocabulary that she describes as "exit strategies," works that invite one to see things from multiple perspectives so as to look severally at existing structures and find ways to navigate the future differently.The first reference monograph on one of the most discussed contemporary artists active today, this publication, designed by London-based graphic design studio A Practice for Everyday Life, documents her entire body of work since her beginnings in 2009, highlighting her most important fields of research, from disciplinary architecture and Afrofuturism to her singular take on minimalism, and political and spiritual beliefs. It gathers together various contributions by art historians and critics, curators and anthropologists--among them Omar Berrada, Emanuele Coccia, Adrienne Edwards, Lesley Lokko, and November Paynter--to draw a multidisciplinary and polyphonic portrait of Kiwanga's practice and thinking.Kapwani Kiwanga studied Anthropology and Comparative Religion at McGill University, Montreal, and Visual Arts at the École des Beaux-Arts de Paris. She has presented solo exhibitions at the New Museum, New York; MIT List Visual Arts Center, Cambridge, Massachusetts; Artpace, San Antonio; The Power Plant, Toronto; Tramway, Glasgow; South London Gallery, London; and the Jeu de Paume, Paris. Recent group exhibitions include the 59th&nbsp;Venice Biennale; LUMA, Arles; the Hammer Museum, Los Angeles; SALT, Istanbul; and the Whitechapel Gallery, London. In 2018 she received the Frieze Artist Award, and was the recipient of the 2018 Sobey Art Award. In 2020, she was awarded the Marcel Duchamp Prize.

Kapwani Kiwanga

Arts & Photography

Boukari-Yabara, Amzat

Agard-jones, Vanessa

Berrada, Omar

Individual Artists

Jrp Ringier Kunstverlag Ag

Mungo Thomson's wide-ranging, multi-media work approaches mass culture and everyday perceptual experience through a lens of deep time and cosmic scale, implicating the spaces of production and exhibition in ever-widening extrapolations.He has convened an orchestral ensemble to perform a score transcribed from the chirping of crickets, persuaded museums to let their incoming mail pile up unopened in the galleries for the run of an exhibition, and replaced the coat-hangers in the Whitney Museum's coat check with custom-made hangers modeled on orchestral triangles, transforming it into an enormous musical instrument.Spanning his entire oeuvre, this first comprehensive monograph focuses in particular on the artist's three main series that embody his exploration of popular culture and everyday objects to question what we most take for granted, or fail to notice.In the 'TIME' series, person-sized silkscreened mirrors bearing the red border and logo of the 100-year-old international weekly newsmagazine, pair a precise historical moment with the viewer's own reflection in the present. As a series, these works form their own archive, reflecting each other, and picturing the viewer within an infinity room of culture and politics and media and design.The 'Wall Calendar' series displays commercial calendar images as if held up to the sun, allowing the reverse side of the page to show through. Printed on both sides of fabric and stretched over a lightbox, recto and verso are collaged together with light--the calendar grid of a single month is superimposed onto a photograph of a 40-million-year-old mountain, and the everyday minutiae of living is put into scale with geological time.These works consider geochronology from a precarious contemporary vantage, contrasting evocations of elevated consciousness with contemplations of extinction. Thomson's 'Snowman' is a series of trompe-l'oeil stacks of Amazon boxes and other online retail shipping cartons cast in sturdy patinated bronze. Both a droll contribution to the field of outdoor sculpture and a mineralogical transformation of the temporary and ephemeral into the permanent and geological, in 2020 the Snowman also became public art for a depopulated world.Includes a conversation with Laura Owens.

Mungo Thomson

Lehrer-Graiwer, Sarah

Griffin, Tim

Grau, Donatien

The obsessions and abiding themes of Louise Bourgeois, as seen through the eyes of Jenny Holzer 
For both Jenny Holzer (born 1950) and Louise Bourgeois (1911-2010), the question of female identity is a central point of departure for their artistic production. Holzer knew Bourgeois personally and shares her sensitivity to language and the radicality of her creative position. Mainly focusing on Bourgeois' writing and drawing practices, this gorgeous, large-format volume brings together the two legendary artists to propose a journey through Bourgeois' obsessions and some of the major themes at stake in her work, among them motherhood, trauma, fear and loneliness. 
Conceived and designed by Holzer to accompany the 2022 Louise Bourgeois exhibition that she curated at the Kunstmuseum Basel, the book puts Bourgeois' works into dialogue with works from the Kunstmuseum Basel's historical collections. 
A fascinating montage of images and writings, this volume offers an unprecedented insight into Bourgeois' art and life.

The Violence of Handwriting Across a Page: Louise Bourgeois X Jenny Holzer

A massive artist’s book-cum-overview of the revered and subversive queer Canadian collective, exquisitely designed in collaboration with AA Bronson 
This 768-page volume stands as the most comprehensive source on the Canadian collective General Idea, founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson and active until the deaths of Partz and Zontal in 1994. The book is arranged in three parts: Performances and Actions, In the Streets and In the Showroom. The first two parts focus on ephemeral, time-based and even disposable works. The third part includes a plate section offering a near-complete visual survey of General Idea's practice. Facing-page comparative images show works as they appeared in historical installations or other relevant contexts. These three sections correspond broadly to the collective’s development: from performances, actions, pageants and other practices (1969–78), through works engaging with mass-media formats such as the magazine, television and video (1972–’80s), and finally to works conceived for galleries and museums (1985–94). The publication features a prologue by AA Bronson, a conversation between him and Beatrix Ruf, and new texts by international scholars. The appendix includes a complete scholarly bibliography, exhibition and performance histories, and an illustrated chronology of the group. 
Conceived by AA Bronson in close collaboration with designer Garrick Gott and editor Adam Welch, each section has a distinct visual identity and graphic treatment. The book itself functions as a kind of edition by the collective, evoking General Idea's preoccupation with redeploying cultural phenomena: here, the museum exhibition catalog.

General Idea

Diederichsen, Diedrich

Balzer, David

History & Criticism

This first monograph on Louisa Gagliardi (b. 1989, Sion, lives in Zurich) introduces her specific voice within the landscape of contemporary painting.She draws freely from the codes of painting as well as contemporary graphic design and advertising in order to rethink questions of figure and ground, flatness and depth, dimensionality and translucence, the enigmatic and the banal, the digital imagery and the painterly marks.Her paintings exist as reflections: internally, of artist and viewer, and of the rapid acceleration of technology in our visualized and socialized worlds.Their liminal status, as both digitally rendered images and physically confronting objects, speaks as much to contemporary concerns of self-mediated personas as they do to the compositions and narratives of the classics of art history.At its heart, Gagliardi's oeuvre plays with expectations, fulfilling and subverting them simultaneously. &nbsp;When one views the work, ideas of authenticity and authorship are begged for and rebuffed; the smooth digital surfaces of the paintings blossom into echoes and refractions of their hand-worked surfaces as they are approached and circled. Brushstrokes exist physically and printed, as clear gel medium creates texture and melodrama, forcing the signature marks of the artist executed with mouse on screen to confront total issues of reality within painting.Includes a conversation with Mitchell Anderson.Relevant Press:Flash Art - 'When Your Smile Is So Wide and Your Heels Are So High: The Paintings of Louisa Gagliardi', by Louisa Elderton, June 2022.

Louisa Gagliardi

Castets, Simon

Heels, masks, heraldry and metamorphosed genitalia: drawings from the legendary queer collective’s group meetings 
Focusing on one specific and lesser-known aspect of the manifold practice of General Idea, the Canadian collective founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson, this volume highlights their drawing practice, with generous insight into 125 carefully selected drawings realized between 1985 and 1993—the period the collective spent in New York. The publication’s design is inspired by George Grosz’s legendary Ecce Homo album (1922–23) because, as Bronson says, “the anti-Semitism in Grosz’s narrative is mirrored by the homophobia in ours.” 
Investigating motifs in the group’s multimedia works, such as poodles, stiletto heels, masks, heraldry and metamorphosed genitalia, these drawings were primarily produced by Zontal during group meetings. However, given General Idea’s mandate for coauthorship, as well as the circumstances under which they were executed, the drawings are considered to be collaborative. The repetition of motifs follows a viral logic akin to General Idea’s own penchant for mass reproduction. Together, these drawings are a fascinating window into General Idea’s unique notions of collaboration and coauthorship, and their singular and innovative approach to art and drawing.

General Idea: Ecce Homo: Drawings 1985–1993

Peter Halley: The Complete Installation Works 1980-2022

François Ristori

Carroll Dunham: Green Period; Prints, Drawings, and Paintings, 2018-2022

Nadel, Dan

Simpson, Mary

Bradford's figures swim, float and wander through the dark and dreamy landscapes of their canvasesSince the 1970s, painter Katherine Bradford has unapologetically blazed her own path in the art world: painting daily and building a community of like-minded artists in both Maine and New York. Bradford paints with a formal inventiveness and a shifting sense of figure and ground, giving narrative weight to her characters who may appear as heroes or lovers, families or couples, businessmen or isolated individuals. Her chromatic scenes, painted in many transparent layers of acrylic, transmit a light-filled quality and offer metaphorical possibilities as they veer between humor, pathos and abstraction. This reference monograph of her work features an essay by London-based art critic Allie Biswas that reflects on the metaphysical nature of Bradford's work, an interview with fellow artist and writer Daniel Gerwin, a narrative biography text by her children, Laura and Arthur Bradford, that offers a personal look at the artist's life and work, and an overview essay by Austrian curator Sandro Droschl. The book compiles over 100 artworks surveying Bradford's paintings from 2015 until today, focusing on her recent series entitled Swimmers and Mother Paintings dealing with her own vision of motherhood and womanhood. Katherine Bradford (born 1942) lives and works in New York City and Brunswick, Maine. She has exhibited at institutions such as the Brooklyn Museum and most recently in a solo exhibition at the Portland Museum of Art, which traveled to the Frye Museum in Seattle. Bradford was awarded a Guggenheim Fellowship in 2011 and a Joan Mitchell Fellowship in 2012.

Katherine Bradford

BRADFORD, Arthur

Bradford, Laura

Biswas, Allie

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Books by Jrp Ringier Kunstverlag Ag