Invited to present an exhibition at the Galleria Borghese in Rome, Kenyan-American artist Wangechi Mutu has developed an innovative approach to museum space, challenging hierarchy, permanence, and fixed meanings. With in-depth essays and a rich selection of illustrations, this catalog retraces that exhibition and explores the themes and concerns that have long characterized the artist’s practice.
Invitata a concepire una mostra alla Galleria Borghese, l’artista keniota-americana Wangechi Mutu ha sviluppato un approccio innovativo allo spazio museale, confrontandosi con le gerarchie, la permanenze e le sedimentazioni del contesto. Attraverso saggi approfonditi e una ricca selezione di illustrazioni, questo catalogo ripercorre la mostra ed esplora i temi e le preoccupazioni che da tempo caratterizzano la pratica dell’artista.
A visual notebook of the screenshots taken by Yngve Holen over the past five years or so, 6G—the anticipated next phase of network technology—is a peculiarly sized artist’s book, a glossy non-linear agglomeration that reflects the intersections of production, life, and digital debris.
Conceived as a visual résumé, the book provides a comprehensive overview of Posenenske’s solo exhibitions and a record of her numerous group shows. Featuring an essay by curator Erlend Hammer on the role of documentary photographs in the circulation of works of art, it was published in conjunction with the eponymous show at the Haugar Art Museum in Tønsberg.
Since the 1980s, Belgian artist Sigefride Bruna Hauman has created a highly original body of work in different media. Her installations, reliefs and videos are the subject of a much-overdue retrospective organized by M Leuven—and of this first monograph.
Edited by Fabian Schöneich
Texts by Lawrence Abu Hamdan, Natasha Ginwala, Ruba Katrib, Andrea Lissoni, Ramona Naddaff,
Fabian Schöneich, Yasmine Seale, Theodor Ringborg, Eyal Weizman
Designed by David Bennewith
Co-published with Bonnier Konsthall
2022, English, hardcover, 19 x 25 cm, 256 pages
ISBN 979-12-80579-08-9
Richly illustrated, this book provides for the first time a visual overview of Lawrence Abu Hamdan’s works of more than a decade, and elaborates on a formal vocabulary characterized by the aesthetics of sound and language. Published on the occasion of his exhibition at Bonniers Konsthall in Stockholm, a group of authors have been invited to engage with individual works and their underlying concepts. Abu Hamdan recognizes the space for art as a site where attention can be drawn to real socio-political conditions in order to challenge the structures behind them. The artist can therefore push at the boundaries of what constitutes testimony. The title “Dirty Evidence” comes from Abu Hamdan’s definition of evidence in which a truth value is derived from its very inadmissibility before the law. It is precisely the evidence’s figurative dirt and dirtiness that works toward the production of truth.
