ART

Hannah Rickards - Grey light Left and right back, high up, two small windows
Sternberg Press 2016 ISBN 9783956792052 Acqn 26850
Pb 15x21cm 100pp 30ills 21col 17.75
Edited by Alexandra McIntosh, Nicolaus Schafhausen
Contributions by Melissa Gronlund, Will Holder, Hannah Rickards, Nicolaus Schafhausen
Grey light. Left and right back, high up, two small windows (2014) is a major new work by
London-based artist Hannah Rickards commissioned by Fogo Island Arts. Grey light is a twoscreen projected video installation with eight channels of sound. Structured rhythmically around
the pattern of a foghorn sounding, the piece finds its origins in the notion of the foghorn as an
auditory marker for nonvisibility, or imagelessness.
This publication features texts by Melissa Gronlund and Will Holder, a conversation between
Rickards and Nicolaus Schafhausen, and striking new photographic imagery drawn from the
installations physical materials and production process. Like Rickardss work, the publication
aims to bridge the distance between visual experience and its expression in language, whether
spoken, written, or gestural.
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Future Imperfect - Contemporary Art Practices and Cultural Institutions in the Middle East
Sternberg Press 2016 ISBN 9783956792465 Acqn 26923
Pb 16x23cm 420pp 105ills 91col 21.50
Contributions by Leila Al-Shami*, Monira Al Qadiri, Hoor Al-Qasimi, Anahi Alviso-Marino, AMBS
Architects, Stephanie Bailey, Eray ayl, Rachel Dedman, Elizabeth Derderian, Anthony Downey,
Karen Exell, Reema Salha Fadda, Wafa Gabsi, Hadia Gana, Adalet R. Garmiany, Baha Jubeh,
Suhair Jubeh, Amal Khalaf, Kamel Lazaar, Jens Maier-Rothe, Guy Mannes-Abbott, Doreen
Mende, Lea Morin, Jack Persekian, Wided Rihana Khadraoui*, Rijin Sahakian, Gregory Sholette,
Tom Snow, Lois Stonock*, Sunset Nile Annex*, Ania Szremski, Christine Tohme, Toleen Touq,
Williams Wells, Ala Younis, Yasmine Zidane (*online projects)
Future Imperfect critically examines the role played by cultural institutions in producing presentday and future contexts for the production, dissemination, and reception of contemporary art in
the Middle East and North Africa. It offers historical contexts for discussions that have become
increasingly urgent in recent yearsthe role of culture in a time of conflict and globalizationand
an in-depth critique of the state of cultural institutions in an age of political upheaval, social
unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and
regional uncertainty. Based on collective input from numerous contributors and interlocutors, this
volume brings together internationally renowned academics, critics, activists, filmmakers, artists,
and other independent cultural practitioners to consider how new infrastructures and institutions
can effectively emerge within such fraught and dynamic contexts. What is needed in terms of
infrastructure for cultural production today, and how, crucially, can we speculatively propose new
infrastructures and institutions in the context of present realities?
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Nathalie Du Pasquier - BIG OBJECTS NOT ALWAYS SILENT

Sternberg Press 2016 ISBN 9783956792557 Acqn 26925
Pb 21x30cm 260pp 190ills 170col 29.95
Edited by Luca Lo Pinto
Texts by Andrew Ayers, Dafne Boggeri, Luca Lo Pinto, Stephen Piccolo, Lodovico Pignatti
Morano, Barbara Radice
Nathalie Du Pasquier was one of the founding members of Memphis, the groundbreaking
Milanese design and architecture collective. During her time with the group she designed patterns
for textiles and carpets as well as objects and furniture. Since 1987, however, her main focus and
passion has been painting. The title of this publication describes the main focus of her work: the
still life. Her distinct influences are visible here: travels to Africa, the ornamentation of the Wiener
Werksttte, the art of Le Corbusier and Amde Ozenfant, and Novecento painting by Giorgio de
Chirico and Giorgio Morandi.
This publication consists of an artists book by Du Pasquier with drawings, photographs, and
reproductions of her paintings, and a book with photographs by Delfino Sisto Legnani of works
from the past decades. Texts by writers and artists and an interview with Du Pasquier provide an
informative and subjective view of her artistic practice.

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Chus Martinez - Club Univers

Sternberg Press 2016 ISBN 9783956792953 Acqn 26926
Pb 12x18cm 84pp 13ills 14.95
Ive been writing these notes continuously for years but I never thought about publishing them.
These pages gather some thoughts on artists who continue to be a source of motivation for me to
invest in complexity and who also all possess a rare sense of humor. I write these texts mostly at
the end of a working day or in the very early morning, which for me are not the hours for
argumentation. They expose no foreseeable line of research or an unequivocal sequence of
arguments. However, through continuous exchange with the students at the Institute of Art of the
FHNW Academy of Arts and Design in Basel, I came to the conclusion that it would be useful to
publish this peculiar research as a strange textbook. Its sole goal is to motivate the students to
keep our conversation going and to further open this possibility up to others.
These pages attribute an incredible intensity to certain artistic practices; they entangle personal
passages with an interest in artists I would love for you to fall for too: Melquiades Herrera (1949
2003), Pedro Pietri (19442004), Federico Manuel Peralta Ramos (19391992), Jorge Bonino
(19351990), and many others who arent included, at least not yet
This book is the result of ongoing research into historical and current artistic practices that
explore new paradigms of experience. It is the first volume in a series of books that focuses on
what is happening both inside and outside of the art institute.

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