The cabinet of traces
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''The Cabinet of Traces'' is a collection of 73 traces that were left behind by various artists in residency at Air Antwerp from 2012 onwards. The traces presented in this publication form a diverse collection of objects, drawings, little art works, letters, and clothes. Likewise a catalogue of an ethnographic collection, this publication provides all standard technical(...)
September 2018
The cabinet of traces
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''The Cabinet of Traces'' is a collection of 73 traces that were left behind by various artists in residency at Air Antwerp from 2012 onwards. The traces presented in this publication form a diverse collection of objects, drawings, little art works, letters, and clothes. Likewise a catalogue of an ethnographic collection, this publication provides all standard technical details with each trace: material, dimensions, title and the artist who created it. Each trace bears its own story. ''The Cabinet of Traces'' remembers these stories, while feeding new ones. Memories are constructions and the traces in the publication form the basis from which these memories can be created. ''The Cabinet of Traces'' is a tool that feeds the imagination. It will be passed on to future artists in residency in order to evoke a reaction. New artists will extend the collection.
Dwelling for intervals
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Dwelling for Intervals is a morphing International Artist Residency program, based on a forest retreat, that has hosted more than 150 resident artists from around the world since it began in 2001. First known as “A Week in the Woods”, it was situated in a room, in an apartment, in Montreal. Three years later, it became “This Neck of the Woods”, in a cabin in a backyard in(...)
Dwelling for intervals
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Dwelling for Intervals is a morphing International Artist Residency program, based on a forest retreat, that has hosted more than 150 resident artists from around the world since it began in 2001. First known as “A Week in the Woods”, it was situated in a room, in an apartment, in Montreal. Three years later, it became “This Neck of the Woods”, in a cabin in a backyard in Rotterdam, The Netherlands. Finally, the project became a roving para-site called “Knock on Woods” which has temporarily staked claim to land in Holland, France, Portugal, Berlin, Japan, and Canada. Dwelling for Intervals is an independent state, a sculpture, a series of collaborations, an international artist residency, a wilderness, a tree house, a travelling circus and a relative site/situation for temporary doing and undoing. The publication documents both the sites and the on-site work of the residents.
Group Exhibitions
Private life
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Private Life documents the work of Frances Adair Mckenzie created during a four year Fonderie Darling artist residency and subsequent exhibition of the same name. Tracing historical and artistic iterations of a co-evolution between body and device, the work examines ways of seeing, surveillance, and desire in relation to immersive perspectives, augmentation and(...)
July 2025
Private life
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Private Life documents the work of Frances Adair Mckenzie created during a four year Fonderie Darling artist residency and subsequent exhibition of the same name. Tracing historical and artistic iterations of a co-evolution between body and device, the work examines ways of seeing, surveillance, and desire in relation to immersive perspectives, augmentation and topographic imaginaries.
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Over the course of just two months in 1965, at a residency at the Tamarind Lithography Workshop in Los Angeles, the Japanese American artist Ruth Asawa produced a stunning portfolio of 54 lithographs, depicting organic forms and plants as well as family and friends. The Tamarind Workshop had been founded by artist June Wayne in Los Angeles in 1960 in an effort to(...)
Ruth Asawa: The tamarind prints
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Over the course of just two months in 1965, at a residency at the Tamarind Lithography Workshop in Los Angeles, the Japanese American artist Ruth Asawa produced a stunning portfolio of 54 lithographs, depicting organic forms and plants as well as family and friends. The Tamarind Workshop had been founded by artist June Wayne in Los Angeles in 1960 in an effort to revitalize lithography as a fine art, and offered artists the opportunity to work in collaboration with master printers. For Asawa, it was a rare chance to focus on a single medium and opened up a new chapter of artmaking for her. A testament to Asawa's radically experimental and collaborative ethos, the Tamarind prints present a discrete chapter of her oeuvre, encapsulating many of the artist's emblematic motifs. Published in celebration of the artist's centennial in 2026, this exquisitely produced book illustrates each lithograph made during her residency at the Tamarind Workshop, which have never been published as a complete series.
Contemporary Art Monographs
Domaine de Kerguéhennec
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"When I go to a place like Brittany or Houston, Texas, what I'm partly trying to do is go around in this very simple way, point to things and say, this is actually of value, I recognize this, it smells good, it tastes good, or something. I want you to taste this," writes Portland, Oregon-based artist Harrell Fletcher in Where I Lived, and What I Lived For. Featuring texts(...)
Domaine de Kerguéhennec
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"When I go to a place like Brittany or Houston, Texas, what I'm partly trying to do is go around in this very simple way, point to things and say, this is actually of value, I recognize this, it smells good, it tastes good, or something. I want you to taste this," writes Portland, Oregon-based artist Harrell Fletcher in Where I Lived, and What I Lived For. Featuring texts by artists Miranda July, Allan McCollum, Chris Johanson and Byron Kim, this volume was made during a residency at Domaine De Kerguehennec in Brittany, France. Known for collaborative, socially minded works (such as Learning to Love You More, a 2002-present Web-based project produced with July), during this residency Fletcher engaged local people in the creation of more populist works for their much-used sculpture park, resulting in the production of a bright green bronze turtle designed by an eight-year-old boy.
Contemporary Art Monographs
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As the sixth Immersion laureate, a French–American Photographic Commission established by the Fondation d’entreprise Hermès, Raymond Meeks took up residence in northern France during the summer of 2022. The work created over the course of this residency will be exhibited in New York and Paris, and accompanied by this artist’s book combining Meeks’ photographs with an(...)
Raymond Meeks: The Inhabitants
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As the sixth Immersion laureate, a French–American Photographic Commission established by the Fondation d’entreprise Hermès, Raymond Meeks took up residence in northern France during the summer of 2022. The work created over the course of this residency will be exhibited in New York and Paris, and accompanied by this artist’s book combining Meeks’ photographs with an extended poem by George Weld.
Photography monographs
Ilit Azoulay
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Finally Without End features Ilit Azoulay’s meticulously composed photographs, and includes work from the series “Implicit Manifestations,” created during a six-month residency at the KW Institute for Contemporary Art in Berlin. Concerned with the unacknowledged scraps and remains of the everyday—from architectural debris to spools of thread—her photographs capture the(...)
Ilit Azoulay
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Finally Without End features Ilit Azoulay’s meticulously composed photographs, and includes work from the series “Implicit Manifestations,” created during a six-month residency at the KW Institute for Contemporary Art in Berlin. Concerned with the unacknowledged scraps and remains of the everyday—from architectural debris to spools of thread—her photographs capture the ambiguity of objects detached from their original purpose.
Contemporary Art Monographs
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The threshing of tensions between lineages, aesthetics, references, techniques, and their various counterpoints is at the core of art’s continual re-imagining and manifestation. Bookending a residency in New York, the paintings, drawings and installation that feature in this book not only explore her work’s increasingly abstract, complex and faceted terrains, but her(...)
Emily Ferretti: walking in both directions
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The threshing of tensions between lineages, aesthetics, references, techniques, and their various counterpoints is at the core of art’s continual re-imagining and manifestation. Bookending a residency in New York, the paintings, drawings and installation that feature in this book not only explore her work’s increasingly abstract, complex and faceted terrains, but her growing fascination for the aesthetic, compositional, and philosophical underpinnings of American folk art.
Contemporary Art Monographs
Archipelagic effects
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"Archipelagic affects" explores how art residencies nurture effective spaces to study the tangible and intangible cultural, historical, and geopolitical connections between different island countries. Conceived by Yornel J. Martínez Elías, researcher Emily Shin-Jie Lee, and in collaboration with Taiwanese novelist Huang Chong-Kai, the book interweaves visual and textual(...)
Archipelagic effects
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$29.00
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"Archipelagic affects" explores how art residencies nurture effective spaces to study the tangible and intangible cultural, historical, and geopolitical connections between different island countries. Conceived by Yornel J. Martínez Elías, researcher Emily Shin-Jie Lee, and in collaboration with Taiwanese novelist Huang Chong-Kai, the book interweaves visual and textual materials created in different time-spaces. Together, they form a shared travelogue that documents how cultures and worlds cross paths through an art residency experience.
Art Theory
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Subsidy is the title of an intervention and three week displacement enacted by the artist during his year-long residency at the Künstlerhaus Bethanien in Berlin. The artist used the complete funds allotted for his exhibition budget (€3.000) to compensate the normally unpaid interns who work in the KB offices. The artist compensated the interns whose time coincided with(...)
Subsidy
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Subsidy is the title of an intervention and three week displacement enacted by the artist during his year-long residency at the Künstlerhaus Bethanien in Berlin. The artist used the complete funds allotted for his exhibition budget (€3.000) to compensate the normally unpaid interns who work in the KB offices. The artist compensated the interns whose time coincided with his year in residence. A total of seven interns were paid for their work in the KB office.
Canadian art