Marcel Duchamp (1887–1968), France, active in United States, Box in a Valise from or by Marcel Duchamp or Rrose Sélavy (Boîte-en-valise de ou par Marcel Duchamp ou Rrose Sélavy), conceived 1935–41, edition E assembled in Paris in 1963, green linen imitation leather covered box containing mixedmedia assemblage/collage of miniature replicas, photographs, and

How do we draft a life, make of it a project, do our daily work? In what material and language does it arrive to us? And what if but it is done with one’s own body, and that body becomes this material but not the subject? Villiger’s autofictions––whether sculpture or image, human or vegetal body––prompt such queries.

While the industrial revolution of the nineteenth century diminished the role of the craftsperson in the manufacturing process, the digital revolution has had a less devastating effect. Today’s digital technologies have given rise to entirely new working methods, skill sets, and consumer products that don’t eliminate, but enrich traditional hand techniques.

Surreal arrangements of artifacts from skulls and teapots to fried eggs and dirty socks by Théo Mercier. Théo Mercier (born 1984) employs found objects in his photography and sculpture to subvert viewers’ expectations. His inaugural monograph reveals the impressive scope of his oeuvre.

The catalogue is published on occasion of the exhibition ‘The Purloined Masterpiece. Images as Time Machines’ at the Paintings Gallery of the Academy of Fine Arts Vienna.

Maximiliane Baumgartner’s Ich singe nicht für Bilder schöne Lieder (I Don’t Sing Beautiful Songs for Pictures) is the first comprehensive publication that contextualizes and traces her artistic practice of the last four years in relation to the fields of painting, action (space) pedagogy, and critical research on the subject of urban planning.

Sandra Peters: Leporello [Spatial Thinking] is a compact artist’s book that explores the sculptural practice of Sandra Peters through the format of a folded leporello.

Great Robert Smithson catalogue edited by Robert Hobbs and published for the United States Pavilion on the occasion of the 40th Venice Biennale of 1982.