The Reluctant Narrator - Museu Coleção Berardo, Sternberg Press, 2014. Design by Andreas Koch.
Co-published by the Museu Coleção Berardo and Sternberg Press, The Reluctant Narrator’s exhibition catalogue includes contributions from Julieta Aranda, Armando Andrade Tudela, Leonor Antunes, Kader Attia, Nina Beier, Derek Boshier, Aleksandra Domanović, Dani Gal, Karl Holmqvist, Christoph Keller, David Levine, Amalia Pica, Bojan Šarčević, John Smith, Hito Steyerl, Stephen Sutcliffe, Andreas Töpfer, Gernot Wieland, as well as essays by Erika Balsom, Sladja Blazan, Kerstin Stakemeier, and Ana Teixeira Pinto.
The book has two versions, one in Portuguese and the other in English.
• 21 October 2014
Christopher Williams and the exhibition catalogue
“the catalogue became a primary tool for me to address the problems I was seeing in the upcoming show. And the production of the catalogue also really helped with the development of the installation and with the new work. So the new photographs and the installation and the new books were all growing at the same time.”
"Unlike a traditional retrospective catalogue — which is typically lengthy, featuring scholarly texts by art historians and other artists discussing the work alongside beautiful color reproductions of said work — Williams’s catalogue runs only 189 pages (including the supplement) and includes zero full-page reproductions of his work, few color images of any artwork at all, and few texts directly about his photographs."
“The first thing I did was bring in other artists and other practitioners talking about their ideas about the production of art,” Williams explained, before listing several of the texts he appropriated for the book, most of which were recycled rather than commissioned (…)”
“I thought what we would do is put the financial specs for this catalogue on the front of the catalogue. But there are legal reasons why we couldn’t do that. So I put Scritti Politti on the cover instead.”
“Finally, I got down to asking them what I had to do fulfill the museums’ contract with the distributor. What it came down to was the barcode, the three logos, and that’s it, actually. I asked if it was important that it have the artist’s name on the cover, and they said no. And I thought that was great! But they said, what artist wouldn’t want to have their name on the cover?”
“Because any bookstore that this sits in, if you didn’t know it was my book, you would think it was a book about books, talking about a paper object moving through space, a discursive object moving through a commercial system.”
“This really becomes a model of a book, rather than a survey catalogue (…).”
"Christopher Williams Shakes Up the Exhibition Catalogue" - Hyperallergic, 4 September 2014.
• 2 October 2014
“The Seattle and Vancouver exhibitions were the first of the numbered shows to have a catalogue – 10 x 15 cm loose index cards to be arranged and read randomly, including my introductory, or interfoliated, text. […] I liked the idea that the reader could throw out the cards she or he did not like, which paralleled the ‘anti-taste’ bias of the entire exhibition.”
— Lucy R. Lippard, “Curating by Numbers” in Tate Papers, 2009.
• 15 July 2014
“In the present instance, in Artists & Photographs, the contents of the catalogue are variants of the items in the exhibition, not reproductions. Both the exhibited "object" and the catalogue "entry" are permutations made possible by the repeatability of the photographic process.”
— Lawrence Alloway, 1970.
• 11 July 2014
“The present exhibition/catalogue […]”
— Lawrence Alloway, 1970.
• 10 July 2014
"Museu Coleção Berardo will publish a new book on the occasion of Carla Filipe’s new exhibition da cauda à cabeça [from tail to head]. Binded in hardcover and containing close to 250 pages, this book brings together a selection of items related to the project presented by the artist in the museum, and includes a series of photographs of the installation itself." - Museu Coleção Berardo
• 17 February 2014
"This publication is an autonomous compilation of projects that question book display and exhibition as well as interviews and texts around the notion of perpetual ‘mise en abyme’ in books about books." - OpenBooks (Volumes), Hato Press, 2011.
• 3 December 2013
"The publication accompanying the exhibition is a kind of experiment…"
"The publication accompanying the exhibition is a kind of experiment stemming from the uniting of two concepts, that of the “artist book” and that of the scholarly study; it is an experiment wherein the artist avails himself of the pen and knowledge of others in order to carry out an analysis of the problem which is of interest to him. Zamojski makes conscious use of the power of the word ‘research’ in the contemporary world and plays with the freedom we attain as a result of observing the outwardly rigorous rules of academe. He perversely mocks political correctness and he involves world authorities in his meta-story. The book becomes a work of art just as the collection of photos showing naked women with fish becomes a field of scholarly analysis, while the academic nature of the publication means that the self-evidently chauvinistic dimension of the collection fades into the background."
- Press release of the exhibition “Honza Zamojski. Fishing with John”e-flux, 2013.
• 3 September 2013
WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013
"The Fondazione Prada presents between 1 June and 3 November 2013 at Ca’ Corner della Regina in Venice an exhibition entitled “When Attitudes Become Form: Bern 1969/Venice 2013” curated by Germano Celant in dialogue with Thomas Demand and Rem Koolhaas. In a surprising and novel remaking, the project reconstructs “Live in Your Head. When Attitudes Become Form,” a show curated by Harald Szeemann at the Bern Kunsthalle in 1969, which went down in history for the curator’s radical approach to exhibition practice, conceived as a linguistic medium. […]
A scientific volume of more than 600 pages is published to coincide with “When Attitudes Become Form: Bern 1969/Venice 2013.” It includes the complete collection of photographs, many previously unpublished, taken by photographers during the exhibition in Bern (Claudio Abate, Leonardo Bezzola, Balthasar Burkhard, Siegfried Kuhn, Dölf Preisig, Harry Shunk and Albert Winkler); a preface by Miuccia Prada; an interview-essay by Germano Celant; two dialogues with Thomas Demand and Rem Koolhaas; as well as contributions by internationally recognized historians, theoreticians, curators and critics (Gwen L. Allen, Pierre Bal-Blanc, Claire Bishop, Benjamin H.D. Buchloh, Charles Esche, Boris Groys, Jens Hoffmann, Chus Martínez, Glenn Phillips, Christian Rattemeyer, Dieter Roelstraete, Anne Rorimer, Terry Smith, Mary Anne Staniszewski, Francesco Stocchi, Jan Verwoert).”
• 29 May 2013
Catalogue / card game by Åbäke
All The Knives, Any Printed Story on Request catalogue
"With ‘All the Knives’, they propose a performative exhibition with very minimal presence, perhaps a chair, a table, a box in an otherwise seemingly empty space. The content of this exhibition is in a state of standby until a member of the audience enters. Performers/invigilators welcome the visitor into a world of stories for which printed graphic items and conversational situations are the catalysts. The show is a collection in constant flux, gathering stories of objects which usually are present in a gallery space or people’s pockets.
All the Knives is an exhibition by Åbäke, Yaïr Barelli, Jochen Dehn, Dirk Elst, Aurélien Froment, Vladimir Ivaneanu, Sally O’Reilly, Matt Rogers and Adva Zakai.” z33.be
• 14 May 2013
Design: Angela Detanico, Rafael Lain
Museu Coleção Berardo, Lisboa, 2013
• 12 March 2013
The New Trade website
The physical exhibition’s website, conceived as a catalogue of the exhibition that will be finished on the its closing day: 26 August 2012.
• 28 June 2012
"The principle of Work for Work is that person A works for person B for an agreed amount of time, and in doing so they agree that person B will repay person A with their time. […] This website documents Work for Work exchanges that have taken place not only between us and a second party but also exchanges that have taken place between two parties independent to us. It’s not that an exchange of favours constitutes something new, no doubt we have all exchanged favours with other people, however we have found that the up front nature of the Work for Work agreement is a way of formalising this exchange economy, making it clearer for both sides. […]"
• 6 January 2012
WITTE DE WITH DIGITAL PUBLICATIONS
"Our attitude is that books constitute a unique medium: distinct from exhibitions and events, they travel easily and have a lasting quality, becoming archives of the activity of writers, artists, curators, designers, editors, and readers alike."
"Accompanying the exhibition Making is Thinking (23 January – 1 May 2011) Witte de With presents its first digital publication. To highlight the importance placed on process by Making is Thinking, the book was developed over the course of the show. Thinking along with the exhibition, it was made available online in installments. The publication can now be downloaded for free in its entirety."
"This digital publication (with a limited print edition of 100) accompanies the exhibition The End of Money (22 May – 7 August 2011)."
• 21 December 2011
[…] The editors of this exhibition … have selected more than a hundred images of significance for them. These have been ranged in categories suggested by the material which underline a common visual denominator independent of the field from which they image is taken. There is no single simple aim in this procedure. No watertight scientific or philosophical system is demonstrated. In short it forms a poetic-lyrical order where images create a series of cross-relationships. […]
Press release for the exhibition, ICA, London, 1953
• 15 October 2011