ART

Torbjorn - Fifth Honeymoon

Sternberg Press 2018 ISBN 9783956794124 Acqn 28907
Hb 20x24cm 136pp 67ills 56col £28.25

Edited by Steinar Sekkingstad, Axel Wieder

Texts by Matias Faldbakken, Sianne Ngai

This publication accompanies Torbjorn Rodland's exhibition "Fifth Honeymoon," produced as a

collaboration between Bergen Kunsthall; Bonniers Konsthall, Stockholm; and Helsinki's Museum
of Contemporary Art, Kiasma; and featuring thirty new photographs and a new video work, his
first in eleven years. Photographed exclusively on analog material, often in staged studio settings,
Rodland's works hold a unique place in the treatment of images by artists today. His photographs
have an almost uncomfortable ambiguity, fully aware as they are of the power of images and the
slippery comfort of normative formats, while simultaneously showing a sincere desire for the
emotions and the magic that are at play in the world. His photographs manifest what we
experience as beautiful, and sometimes repulsive, but not in any conventional way. Rodland
makes use of these aesthetic categories and the forms in which they are expressed, and
confronts them, complicates them, and exaggerates them with contradictory concepts, such as
the uncanny, the nasty, the messy.

Fifth Honeymoon features all of the new works in Torbjorn Rodland's eponymous exhibition, as
well as newly commissioned essays by the American writer and cultural theorist Sianne Ngai and
artist colleague Matias Faldbakken.

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 ART

Guy Mees - The Weather is Quiet, Cool And Soft

Sternberg Press 2018 ISBN 9783956794193 Acqn 28908
Pb 20x26cm 188pp 170ills 130col £22

Texts by Francois Piron, Fernand Spillemaeckers, Lilou Vidal, Wim Meuwissen, Dirk Snauwaert,
Micheline Szwajcer

Guy Mees's (1935-2003) photographs, videos, and above all his fragile works on paper are
characterized by a formal rigor combined with sensitivity and delicacy. The uniqueness of his
oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A
leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that
transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

The Weather is Quiet, Cool, and Soft is published on the occasion of the eponymous exhibition at
Kunsthalle Wien, Vienna (February 1-April 8, 2018), and at Mu.ZEE, Ostend (November 25,
2018-March 10, 2019). Borrowed from a note the artist jotted down on one of his works on paper,
the title pays homage to the atmospheric impermanence of Mees's works, as well as his infra-
ordinary, relativistic, and poetic approach. With emblematic works and unpublished archival
materials from the artist's creative phases spanning the 1960s to 2000s, the publication
emphasizes the idiosyncrasy and significance of Mees's practice and personality. These are
complemented by two new essays by Lilou Vidal and Francois Piron; a translation of a text by
Fernand Spillemaeckers from the 1970s; and an interview conducted with Mees's friend and
accomplice Wim Meuwissen, his long-standing gallerist Micheline Szwajcer, and Dirk Snauwaert,
who produced the first retrospective and a definitive monograph dedicated to Mees's work.

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Five Heads (Tavan Tolgoi) - Art, Anthropology and Mongol Futurism

Sternberg Press 2018 ISBN 9783956794292 Aqn 28942
Pb 14x20cm 136pp 62ills 18col £13.50

Contributions by Baatarzorig Batjargal & Nomin Bold, Lauren Bonilla, Bumochir Dulam, Rebecca
Empson, Richard D.G. Irvine, Yuri Pattison, Rebekah Plueckhahn, Dolgor Ser Od & Marc
Schmitz, Hermione Spriggs, Simon O’Sullivan, Deborah Tchoudjinoff, Tsendpurev Tsegmid,
Uranchimeg Tsultem, Hedwig Waters, Tuguldur Yondonjamts

What does the future look like, or feel like, from the perspective of a yak in the coal-mining district
of Khovd? From the perspective a Mongolian root extracted, illegally traded, and sold
internationally as a pharmaceutical product? Or from that of the toolkit of an urban shaman
securing economic futures for professional women in Ulaanbaatar?

Five Heads (Tavan Tolgoi): Art, Anthropology and Mongol Futurism brings together the work of
five anthropologists and five artists/collectives researching and responding to the dramatic rise
and fall of Mongolia’s mineral economy. Launched in tandem with the eponymous exhibition at
greengrassi and Corvi-Mora in London, the publication features visual documentation of multiple
art-anthropology exchange processes, ethnographic texts, and further written contributions that
introduce contemporary Mongolia as a dynamic site for conceptual and creative experimentation.

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 ART

Georgia Sagri
Sternberg Press 2018 ISBN 9783956794223 Acqn 28936
Pb 21x27cm 128pp 135ills 120col £21

Edited by Christina Lehnert, Philippe Pirotte

Texts by Sotirios Bahtsetzis, Silvia Federici, Bettina Funcke, Daniel Horn, Ruba Katrib, John
Kelsey, Christina Lehnert, Diego Singh, Stephen Squibb

The catalogue GEORGIA SAGRI GEORGIA SAGRI and I is published on the occasion of the
eponymous solo exhibitions "GEORGIA SAGRI GEORGIA SAGRI" at Kunstverein Braunschweig,
December 2017-February 2018, and "GEORGIA SAGRI and I" at Portikus, Frankfurt am Main,
April-June 2018. As her first comprehensive publication, this catalogue surveys the multi-facetted
oeuvre of the Greek artist Georgia Sagri. As the title of this book suggests, the "staged objects"
that Sagri produced for these two exhibitions are doubled, modules, where each 'I' or 'self' can be
"cross-eyed," so to say, to reveal that it is in fact two not one. This effect, often produced
theatrically, reorders the collective gaze to be subverted through a "catastrophe of emotions."
Across performance, video work, and sculpture, Sagri navigates the murky relationships between
the artist's body and her body of work, subjectivity and persona, original and reproduction with
equal parts humor and severity.

Collected in this catalogue is both current documentation of Sagri's work and rich archival
material since 1999; together they are juxtaposed against essays by Sotirios Bahtsetzis, Daniel
Horn, Ruba Katrib, Christina Lehnert, Diego Singh and Stephan Squibb, an interview conducted
with Silvia Federici, and a conversation between the artist, Bettina Funcke, and John Kelsey.

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