Danh Vo brilliantly dismantles the structures and privileges of belonging Danh Vo's conceptual, installation-based practice dissects the cultural forces and private desires that shape our experience of the world. He often employs found objects, images and texts to animate personal narratives that refract global political histories. Published to accompany the most comprehensive museum survey to date of the Danish artist's work, this catalog presents for the first time an illuminating overview of Vo's work from the past 15 years. Organized around nearly 30 major projects and installations, the volume ranges from Vo's early performative works such as Vo Rosasco Rasmussen (2003), in which he married and divorced acquaintances in order to add their surnames to his own, to his recent sculptural hybrids of classical and Christian statuary. A lead essay by Katherine Brinson probes the artist's roving, research-based process in which historical study, fortuitous encounters and personal relationships are woven into psychologically potent tableaux. Significant recurring subjects include the legacy of colonialism and the fraught status of the refugee, as well as the image of the United States in its own collective imagination and in that of the world. Danh Vo lives and works in Mexico City and Berlin. He represented Denmark at the 2015 Venice Biennale and received the 2012 Hugo Boss Prize, for which he developed the project I M U U R 2 at the Guggenheim Museum (2013). Vo's major solo exhibitions include presentations at Museo Nacional Centro de Arte Reina Sofía, Madrid (2015-16); Museo Jumex, Mexico City (2014-15); Musée d'art Moderne de la Ville de Paris (2013); Kunsthaus Bregenz, Austria (2012); Artists Space, New York (2010); Kunsthalle Basel (2009); and Stedelijk Museum, Amsterdam (2008).

Felix Gonzalez-Torres (1957-1996) is one of the most influential artists of his generation. This catalogue includes both rarely seen and more known paintings, sculptures, photographic works, and public projects, reflecting the full scope of the artist's short yet prolific career.Specific Objects Without Specific Form offered several exhibition versions (and none the authoritative one), all the better to present the oeuvre of an artist who put fragility, the passage of time, and the questioning of authority at the centre of his artwork.At each venue in which the show was hosted, the exhibition was co-curated with, and re-installed/re-imagined by a different invited artist whose practice has been informed by Gonzalez-Torres' work. Those artists are Danh Vo, Carol Bove, and Tino Sehgal.Specific Objects without Specific Form acknowledges that the way an exhibition begins and ends its 'story', the emphasis it places on one aspect more than another, the way it presents individual artworks, the juxtapositions it constructs, the mood it creates, in addition to the way an exhibition is discursively presented -- all of these potentially shift the way that a body of work might be understood by its public. And all of these participate in the construction of the meaning and reception of an oeuvre, which is to say, nothing less than the construction of history.Published retrospectively after the exhibition at WIELS Contemporary Art Centre, Brussels (January - April 2010); Fondation Beyeler, Basel (May - August 2010); and MMK, Frankfurt am Main (January - April 2011).

Winner, 2019 ATHE Outstanding Book Award, given by the Association for Theatre in Higher Education Winner, 2018 Errol Hill Award in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research A new manifesto for performance studies on the art of queer of color worldmaking. After the Party tells the stories of minoritarian artists who mobilize performance to produce freedom and sustain life in the face of subordination, exploitation, and annihilation. Through the exemplary work of Nina Simone, Jorge Ignacio Cortiñas, Danh Vō, Felix Gonzalez-Torres, Eiko, and Tseng Kwong Chi, and with additional appearances by Nao Bustamante, Audre Lorde, Martin Wong, Assata Shakur, and Nona Faustine, After the Party considers performance as it is produced within and against overlapping histories of US colonialism, white supremacy, and heteropatriarchy. Building upon the thought of José Esteban Muñoz alongside prominent scholarship in queer of color critique, black studies, and Marxist aesthetic criticism, Joshua Chambers-Letson maps a portrait of performance’s capacity to produce what he calls a communism of incommensurability, a practice of being together in difference. Describing performance as a rehearsal for new ways of living together, After the Party moves between slavery, the Civil Rights Movement, the first wave of the AIDS crisis, the Vietnam War, and the catastrophe-riddled horizon of the early twenty-first century to consider this worldmaking practice as it is born of the tension between freedom and its negation. With urgency and pathos, Chambers-Letson argues that it is through minoritarian performance that we keep our dead alive and with us as we struggle to survive an increasingly precarious present.

This catalogue documents the collection of the artist Martin Wong. In numerous colour illustrations, photographs that Heinz Peter Knes took together with Danh Vo, the book depicts the interiors of the Wong Fie family residency in San Francisco filled with paintings, sculptures, and mulitfaceted objects from very specific and diverse fields of interest such as asian antiques and americana that Martin Wong followed and collected together with his parents throughout is life.0Exhibition: Galerie Buchholz, Berlin/Köln, Germany (2013). 0.

This is the inaugural exhibition of the Ng Teng Fong Roof Garden Commission series, which invites leading international artists to create site-specific installations at the Ng Teng Fong Roof Garden Gallery, made possible by a gift from the family of Ng Teng Fong. Published to accompany this exhibition, this catalogue delves deeper into Danh’s practice and broader discussions surrounding cross-cultural identity through essays by leading scholar Professor Nora Taylor and National Gallery Singapore curator Charmaine Toh alongside full-colour images of the commissioned work.

The long-awaited follow-up to the Pulitzer Prize-winning The Sympathizer, which has sold more than one million copies worldwide, The Committed follows the man of two minds as he arrives in Paris in the early 1980s with his blood brother Bon. The pair try to overcome their pasts and ensure their futures by engaging in capitalism in one of its purest forms: drug dealing. Traumatized by his reeducation at the hands of his former best friend, Man, and struggling to assimilate into French culture, the Sympathizer finds Paris both seductive and disturbing. As he falls in with a group of left-wing intellectuals whom he meets at dinner parties given by his French Vietnamese “aunt,” he finds stimulation for his mind but also customers for his narcotic merchandise. But the new life he is making has perils he has not foreseen, whether the self-torture of addiction, the authoritarianism of a state locked in a colonial mindset, or the seeming paradox of how to reunite his two closest friends whose worldviews put them in absolute opposition. The Sympathizer will need all his wits, resourcefulness, and moral flexibility if he is to prevail. Both highly suspenseful and existential, The Committed is a blistering portrayal of commitment and betrayal that will cement Viet Thanh Nguyen’s position in the firmament of American letters.

This volume looks at the finalists for the 2012 Hugo Boss Prize. The prize honours artists who have made significant contributions to contemporary art.

Edited and with text by Doryun Chong. Text by Mike Kelley, Hiroko Kudo.

This catalogue includes works from Rama's early 1930s watercolor drawings, which anticipated debates on sexuality, gender and representation, to her "mad cow" series of the late 1990s and early 2000s, which continues her ongoing representation of forms of contagion and madness. Bringing together this unique body of work, the catalogue highlights Rama as one of the most important voices of the twentieth century and draws attention to the relevance of her work.00Exhibition: New Museum, New York, United States (26.04.-10.09.2017).

Never has contemporary art been so popular as it is now; never has its audience been so big. In the rapidly changing and vastly expanding art world one thing hasn't changed, however: it is the artist that remains at the center of artistic universe. In fascinating and personal interviews seventeen outstanding contemporary artists reflect on what does it mean to be an artist today. By doing so, they provide a great material to analyze the most urgent questions of the current art system. What artistic values should prevail? How to define the artist when the notions of shaman, revolutionary and bohemian are no longer valid? What is the relationship between artist and their public? How to stay relevant for the artist herself/himself and for the world? As artists operate in close connection with curators, collectors, and gallerists, Marta Gnyp has given voice to a few excellent actors from these categories to make the picture more complete: Fran ç ois Pinault speaks about his experiences and his vision of contemporary art as a collector; Anthony d'Offay reflects on artists and the post-war art system from the perspective of a gallerist, while Demetrio Paparoni reflects on the state of contemporary art as an art historian, curator, and critic. Thanks to her profound knowledge of the art world as theorist and as insider - being art advisor, collector, art journalist - Gnyp could engage in deep conversations and when needed was not afraid to ask difficult questions. Reading the essay and the interviews, the reader gets a great sense of what do the artists do and think, and also what are the most challenging issues of our art system in general.