Andrea Büttner

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Individual Stories
Luca Lo Pinto, Nicolaus Schafhausen, Anne-Claire Schmitz (Eds.)

Luca Lo Pinto, Nicolaus Schafhausen, Anne-Claire Schmitz (Eds.)

With contributions by Saâdane Afif, Jacques André, Marie Angeletti, Thomas Bayrle, Barbara Bloom, Herbert Brandl, Andrea Büttner, Hans-Peter Feldmann, Camille Henrot, Michaela Maria Langenstein, Pierre Leguillon, Hanne Lippard, Maurizio Nannucci, G. T. Pellizzi, Max Renkel, Michael Riedel, Hubert Scheibl, Yann Sérandour, John Stezaker, Johannes Wohnseifer; with images by Marie Angeletti

Photographs, books, and knickknacks: artists collect a variety of objects. While artists generate personal collections, which often address different formal, aesthetic, or conceptual concerns, it is difficult to separate this activity from their artistic practices. Over time, whether intended or not, such accumulations of items may become works of art.

Individual Stories considers the collection as a portrait of its collector and also as an artistic method—as a process rather than an end result. The act of collecting is multifarious—it can be an expression of curiosity, a desire to transform things that have been discovered, or a systematic approach to certain objects in the world. This catalogue is a compilation of individual collections that could not be more different.

Copublished with Kunsthalle Wien to document the exhibition “Individual Stories: Collecting as Portrait and Methodology,” Kunsthalle Wien, June 26–October 11, 2015.

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Individual Stories
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The Assistants
Fionn Meade (Ed.)

Edited by Fionn Meade, The Assistants originates as the visual and conceptual companion of the exhibition organized at David Kordansky Gallery, Los Angeles. Featuring original contributions together with rarely seen works, the publication is animated by Uri Aran, Nairy Baghramian, Matthew Brannon, Andrea Büttner, Rosalind Nashashibi, Adrian Piper, Laure Prouvost, Slavs and Tatars, Mierle Laderman Ukeles, and Cathy Wilkes.

“The Assistants explores the transitive potential of art, including how artworks can take on attendant guises and play assisting roles, serving as custodians of memory while also producing resistant gestures and deviant substitutions. […] Resigned to respond and generate rather than fix meaning, The Assistants are inalienable and moving within and among us, writes Walter Benjamin, ‘None has a firm place in the world, or firm, inalienable outlines… There is not one that is not either rising or falling, none that is not trading qualities with its enemy or neighbor, none that has not completed its time and yet is unripe, none that is not deeply exhausted and yet is only at the beginning of a long existence.’” – Fionn Meade

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