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Jason Dodge
A Permanently Open Window

Jason Dodge’s practice attempts to give new life to objects, exploring their potential and provoking the viewer’s cognitive ability to imagine a corresponding narrative. Focusing on specific aspects of two works, A permanently open window and Changing the lights – From rose light to white light, from white light to rose light, by hand, over and over, Jason Dodge’s artist book is not merely a documentation of his works but, in the artist’s words, “a record of light changing over a day, in one case naturally and in one case manually”. The publication was conceived and designed to accompany Jason Dodge’s permanent installation realized for the Maramotti Collection, in Reggio Emilia – a permanently open window located in what was once the tower of a factory’s electrical power plant, an abandoned industrial space, now transformed into a commercial outlet – and contains selected images from both projects, as well as a text.

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Ronald Jones
1987-1992

Published on the occasion of the exhibition Ronald Jones: 1987-1992, at the Grazer Kunstverein, 27 September-23 November 2014, curated by Jason Dodge and Krist Gruijthuijsen.

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Ronald Jones
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Maria Lind
Selected Writing

Edited by Brian Kuan Wood
Selections and responses by Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr

Working in a number of contexts and capacities has shown Maria Lind to be a curator who, over time, has engaged in a rethinking of the art institution and the formats and methodologies connected with it, taking art itself as a starting point. Following on the various endgames outlined by institutional critique, Lind has forged paths out of hegemonic institutional regimes precisely by identifying other ways of working through them, from both inside and outside.

For Lind, writing is integral to her curatorial work. It is where she accounts for her decisions, explains her intention, justifies her interest, toys with new possibilities and develops new ideas, and recognizes historical precedents. It is where the craft of curating, already pointed out towards a public, finds another channel of articulation.

Selected Maria Lind Writing brings together twenty-two essays selected by Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick, Brian Kuan Wood, and Tirdad Zolghadr.

The collection of essays spanning from 1997 to 2010 forms a tapestry of Lind’s own interweaving interests, but also of those of a panel of readers invited by Lind to project their own concerns onto her corpus of writing. Essays on individual artists, monographic and group exhibitions, funding structures, new contexts and spatial paradigms, together comprise a rare opportunity to swivel a spotlight on its axis back towards a figure who always tries to aim it at what really matters.

Maria Lind is a curator and writer based in Stockholm. She was the director of the graduate program at the Center for Curatorial Studies, Bard College, 2008 to 2010. She was director of Iaspis in Stockholm 2005 to 2007 and from 2002 to 2004 was the director of Kunstverein München. From 1997 to 2001, Lind was curator at Moderna Museet in Stockholm, where she was responsible for Moderna Museet Projekt. She was co-curator of Manifesta 2 in 1998. Lind has contributed widely to magazines and other publications, as well as to numerous exhibition catalogues. She was the 2009 recipient of the Walter Hopps Award for Curatorial Achievement.

Design by Liam Gillick

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Bernadette Corporation
Eine Pinot Grigio, Bitte

“For this book Bernadette Corporation uses screenplay formatting software and the screenplay form with no intention to produce a film or communicate anything. … the hack is used as a starting point for a literature, with hack tools in a hack medium. EINE PINOT GRIGIO, BITTE to remind you of the necessity to understand that all creativity is equal.” Bernadette Corporation

A novel-in-disguise, Eine Pinot Grigio, Bitte is a dark foray into capitalism gone awry. Set against a backdrop of decadent zombies, the screenplay follows John Delp and Aude as they shoot a movie in the cities of Paris, Berlin, and Mexico City. With its wild and messy sense for the absurd, Eine Pinot Grigio, Bitte unravels that conventional Hollywood repertoire of screenwriting all to better recycle both fiction and the real.

Eine Pinot Grigio, Bitte is followed by “Pedestrian Memoranda,” a series of notes on Bernadette Corporation’s temporary underground film studio, operated from 2005–2007 in Paris, Berlin, and Mexico City.

Bernadette Corporation has previously worked under the guise of an eponymous underground fashion label, published a fashion magazine called Made in USA, produced video-films, including the 2003 documentary Get Rid of Yourself, collectively authored the novel Reena Spaulings (Semiotext[e] 2004), as well as exhibited at the 2006 Whitney Biennial, the Witte de With museum, and the Centre Pompidou.

Co-published by Art in General, New York

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Bernadette Corporation - Eine Pinot Grigio, Bitte
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