Following the success of his first novel The Marriage of Reason and Squalor, artist Jake Chapman now focuses his malice on the calloused underbelly of literature itself. In Memoirs of MyWriter's Block, Chapman haunts the shady world of the professional ghostwriter, posing as fragile amateur scribbler Christabel Ludd whose broken attempts at completing her first novel are frustrated by an unshakable writer's block. In desperation she commissions a ragged collection of self-proclaimed professionals to transform the rudimentary tale into a compelling page-turner - with breathtaking results. The book follows the crushing and often bizarre process of having to get your novel written by someone else. The author, wracked with creative energy, resorts to poetry in a desperate attempt to relieve the tension built up over months of waiting for other - apparently more accomplished - writers to finish her story.

Celestial mechanics have fascinated mankind in all known cultures. Many artists throughout history have been captivated by the spectacle we observe above us day and night. Swiss photographer Guido Baselgia has expanded the focus of his work on the sky, with the stellar and solar movements and phenomena as we see them from earth. In his most recent work Light Fall, Baselgia makes traceable the trajectory of celestial bodies invisible to the human eye and shows astounding occurrences of light and shadow. Taken in Norway, the Tierra del Fuego archipelago in Argentina, in Ecuador, and the Swiss Alps, the images visualise the geometry of astrodynamics and celestial mechanics. His photography also captures the phenomenon of umbra, planet earth's shadow thrown into space. The new book Guido Baselgia - Light Fall features 80 stunning tritone plates. Complemented with essays by German scholar Andrea Gnam and Swiss photography critic Nadine Olonetzky, they offer a window into the light phenomena that leave us awestruck today as much as they did our ancestors.

Originally published in 1970, The Urban Revolution marked Henri Lefebvre's first sustained critique of urban society, a work in which he pioneered the use of semiotic, structuralist, and poststructuralist methodologies in analyzing the development of the urban environment. Although it is widely considered a foundational book in contemporary thinking about the city, The Urban Revolution has never been translated into English-until now. This first English edition, deftly translated by Robert Bononno, makes available to a broad audience Lefebvre's sophisticated insights into the urban dimensions of modern life.Lefebvre begins with the premise that the total urbanization of society is an inevitable process that demands of its critics new interpretive and perceptual approaches that recognize the urban as a complex field of inquiry. Dismissive of cold, modernist visions of the city, particularly those embodied by rationalist architects and urban planners like Le Corbusier, Lefebvre instead articulates the lived experiences of individual inhabitants of the city. In contrast to the ideology of urbanism and its reliance on commodification and bureaucratization-the capitalist logic of market and state-Lefebvre conceives of an urban utopia characterized by self-determination, individual creativity, and authentic social relationships.A brilliantly conceived and theoretically rigorous investigation into the realities and possibilities of urban space, The Urban Revolution remains an essential analysis of and guide to the nature of the city.Henri Lefebvre (d. 1991) was one of the most significant European thinkers of the twentieth century. His many books include The Production of Space (1991), Everyday Life in the Modern World (1994), Introduction to Modernity (1995), and Writings on Cities (1995).Robert Bononno is a full-time translator who lives in New York. His recent translations include The Singular Objects of Architecture by Jean Baudrillard and Jean Nouvel (Minnesota, 2002) and Cyberculture by Pierre Levy (Minnesota, 2001).

Since studying with Anthony Gormley and Timm Ulrichs, Josef Rainer (*1970) has created an artistic world theatre made up of incidental and overlooked things, in which perspectives and proportions communicate, big things move out of view, and small things appear on the stage. In his new book, the honeycomb architecture of bees, shrunken human beings in urban surroundings, speaking busts, and reading primates encounter one another. Supplemented by forays into mythology, the history of human development, science, and politics, all of this forms the material for a wondrous 'art chamber' in book form. Text in English, German and Italian.

The Swami Vivekananda's speech to the World's Parliament of Religions in Chicago in 1893 is the centerpiece of Indian artist Jitish Kallat's new work, Public Notice 3. The installation went on view at the Art Institute of Chicago on September 11, 2010, exactly 108 years after Vivekananda delivered his groundbreaking address calling for an end to "bigotry and fanaticism." The text of the speech appears on the risers of the Art Institute of Chicago's Grand Staircase where it is illuminated in the five colors-red, orange, yellow, blue, and green-designated by the United States Homeland Security Advisory System to signify threat levels. This companion book, which documents the installation, is the first full-scale exploration of Kallat's work published by a North American institution. Along with an interview with the artist, essays contextualize Public Notice 3 within the space of the installation and evaluate Kallat's oeuvre within an international context. Distributed for the Art Institute of Chicago Exhibition Schedule: The Art Institute of Chicago (09/11/10-09/11/11)

Barbis Ruder: 10 Jahre Performancekunst Im Fokus der Arbeiten der Performance- und Medienkunstlerin Barbis Ruder steht der Koerper - als Ausgangs- und Untersuchungsobjekt zugleich. In ihren Performances und multimedialen Arbeiten lotet Ruder Themen wie Wirtschaft, Arbeit, Intimitat und Konventionen aus. Der Koerper kommt im bewegten Bild, in Skulpturen, Installationen und auf der Buhne zum Einsatz. Das Buch prasentiert erstmals das gesamte Werk von Barbis Ruder und zeigt die Vielschichtigkeit ihres Schaffens. In unterschiedlichen Werkzyklen wird der Koerper immer wieder neu ver- und behandelt, im Spannungsfeld zwischen Emanzipation und Kapitalismus. Die umfangreiche Werkschau versammelt trashige Buhnenperformances und bildhauerische Werke ebenso wie Videoarbeiten und gibt Einblicke in Werkentwicklungen, die durch Zeichnungen und Studien dokumentiert sind. Erstes umfassendes Werkportrat der Performance- und Medienkunstlerin Barbis Ruder Aufwendig gestaltetes Buchobjekt, mit zahlreichen grossformatigen Abbildungen Mit Beitragen von Lona Gaikis und Peter Kozek sowie einer Einleitung von Madeleine Frey

An illustrated examination of one of Hirschhorn's "precarious" monuments, now dismantled. Part-text, part-sculpture, part-architecture, part-junk heap, Thomas Hirschhorn's often monumental but precarious works offer a commentary on the spectacle of late-capitalist consumerism and the global proliferation of commodities. Made from ephemeral materials-cardboard, foil, plastic bags, and packing tape-that the artist describes as "universal, economic, inclusive, and [without] any plus-value," these works also engage issues of justice, power, and moral responsibility. Hirschhorn (born in Switzerland in 1957) often chooses to place his work in non-art settings, saying that he wants it to "fight for its own existence." In this book, Anna Dezeuze offers a generously illustrated examination of Hirschhorn's Deleuze Monument (2000), the second in his series of four Monuments. Deleuze Monument-a sculpture, an altar, and a library dedicated to Gilles Deleuze-was conceived as a work open to visitors twenty-four hours a day, seven days a week. Part of the exhibition "La Beaute" in Avignon, Deleuze Monument was controversial from the start, and it was dismantled two months before the end of the exhibition after being vandalized. Dezeuze describes the chronology of the project, including negotiations with local residents; the dynamic between affirmation and vulnerability in Hirschhorn's work; failure and "scatter art" in the 1990s; participatory practices; and problems of presence, maintenance, and appearance, raised by Hirschhorn's acknowledgement of "error" in his discontinuous presence on site following the installation of Deleuze Monument.

Christo (1935-2020) and Jeanne-Claude (1935-2009) created some of the most breathtaking artworks of the 20th and 21st centuries. Their projects radically questioned traditional conceptions of painting, sculpture, and architecture. This lavish photo book is the first comprehensive publication on the artists' oeuvre to be released after Christo's death in May 2020. It also serves as a curtain-raiser for Christo und Jeanne-Claude's last major project - the wrapping of the Arc de Triomphe in Paris, which will be carried out posthumously in the fall of 2021. Presenting a wealth of photographs and studio snapshots from 1949 to 2020, some of which are private, this book allows an intimate peek behind the scenes of Christo und Jeanne-Claude's monumental installations which fascinated the public for decades. In addition to pictures capturing the artists at work, it includes photos documenting all of their major projects. Matthias Koddenberg (b.1984), art historian and close friend of the artists, spent many years compiling the more than 300 images featured in this volume. Among them are pictures taken by companions and friends and hitherto unpublished photographs from the artists' estate. Together they tell the extraordinary story not only of the couple's artistic collaboration, but also of their five-decade-long partnership.

The artist Dan Graham (b. 1942) has a wide-ranging practice that encompasses writing, performance art, installation, video, photography, and architecture. Throughout his career, Graham has examined the symbiosis between architectural environments and their inhabitants, particularly in his pavilions made of glass and mirrors. His new installation, created for the roof garden of The Metropolitan Museum of Art, addresses current issues about suburban psychology and political surveillance. Graham's work combines landscaping, hedges, and two-way mirrors to create a provocative, immersive experience for viewers. This creatively designed publication includes an insightful interview between the artist and Sheena Wagstaff and focuses not only on Graham's latest commission but also on his previous landscape-oriented installations, providing a focused, fascinating study of one of today's leading contemporary artists. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art (04/28/14-11/02/14)

Thomas Hirschhorn is a leading installation artist whose work is owned and exhibited by modern art museums throughout Europe and the United States. Known for his compelling, often site-specific and activated environments which tackle issues of critical theory, global politics, and consumerism, his work initially engages the viewer through sheer superabundance. Combining found images and texts, bound up in handcrafted constructions of cardboard, foil, and packing tape, they correlate to the intellectual scavenging and sensory overload that characterize our own grapplings with the excess of information in daily life. Christina Braun is the first to compile and systematically analyze the extensive source material on this artist's theoretical principles. Now translated into English, her study sheds light on the complicated yet constitutive relations between Hirschhorn's work and theory, providing a major contribution to the study of contemporary art.

The KfW Foundation and the cultural centre Kunstlerhaus Bethanien are collaborating on a studio programme offering a twelve month residency in Berlin to young artists from Africa, Latin America and the Middle East. Verlag Kettler presents the artistic work of the grant holders in an on-going book series. Matheus Rocha Pitta (born 1980 in Tiradentes, Brazil, lives and works in Rio de Janeiro) has created a new group of works entitled For the Winners the Potatoes. At the time of publication, this work an be found at the exhibition room of Kunstlerhaus Bethanien, as well as in two of Berlin's underground stations, Hermannplatz and Gesundbrunnen, and in a showcase at SOX in Berlin's Oranienstrasse. Rocha Pitta's performative installations at Kunstlerhaus Bethanien and in the underground stations allow him to interact with the public. He presents trophies that are made of plastic bags or concrete instead of gold, silver or bronze, and invites visitors to take along potatoes as victory trophies. His work deconstructs the concept of victory and the hierarchy of winners and losers, creating a dense network of historical references going back to Ancient Greece and asking fundamental questions about the meaning of gestures, the community and its value. Rocha Pitta portrays his trophies with a mocking sense of humour. By connecting glory with mundane, everyday objects, he aims to subvert the hierarchy of winners and losers and invites the spectator to rethink the meaning of victory and defeat.

Stone Talks brings together poems and four talks/essays by noted poet Alyson Hallett on the subject of stones, rocks, somatics and our relationship with our environment. The book invites us to listen again to the world around us - the world of rocks and trees and sky and stars and sea that we participate in and that participates in us. It reawakens a childlike curiosity in us, makes connections that we had forgotten, and gives us permission to experience the world in an embodied and vibrant way that was drummed out of the rest of us long ago. The book starts with an essay on KInship inspired by Donna Haraway's ideas about how we must make relationships of kin with all things, including what she refers to as `critters’. In it, Alyson explores the twin ideas of embodied reading and embodied walking. How, exactly, can we embody the ideas in a book? Here, the author "dives into kinship with the decomposed bodies of plankton, plants and animals whose liquidation created that beautiful, black viscous gold we call oil". In the title essay, Stone Talks, Alyson revisits the keynote lecture she gave at the `In Other Tongues’ symposium at Dartington. In it she explores her lived experience of being talked to and guided in her life by stones. She examines the ideas of obedience and yielding, the body as a wilderness, and unfolds a walked artwork with stones that she undertook soon after her father died. In Haunted Landscapes, Alyson explores the marks and traces of our own and others' lives that inhabit our bodies and experience. Wandering into quantum physics, she asks questions that "set me afloat on a fathomless sea". Finally, in The Stone Monologues, Alyson embarks on a quest to "understand myself not as a single thing, a single point, but rather a constellation, a layered interruption in time comprising everyone and everything I encounter". Alyson Hallett has received Arts Council awards for her work. She is a Hawthornden Fellow, works part-time for the Royal Literary Fund and loves collaborating with other artists and scientists. She has a doctorate in poetry with research into geographical intimacy. In Stone Talks, she shares some of what she is learning from stones. She talks “from the mud. From the earth. From the place we haunt and are haunted by.” The talking is exquisite.

Generously illustrated essays consider Isa Genzken's remarkable body of work, from her early elegant floor pieces to her later explosive assemblages. Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a New York Times critic observes, are "brash, improvisational, full of searing color and attitude." Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and postminimalist practices even as she engages pressing sociopolitics and economic issues of the present. These illustrated essays address the full span of Genzken's work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium. The texts, by writers including Yve-Alain Bois, Benjamin H. D. Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993. Contributors Yve-Alain Bois, Benjamin H. D. Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M. Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, Lawrence Weiner Contents Isa Genzken: Two Exercises (1974) * Birgit Pelzer: Axiomatics Subject to Withdrawal (1979) * Benjamin H. D. Buchloh: Isa Genzken: The Fragment as Model (1992) * Benjamin H. D. Buchloh: Isa Genzken: Fuck the Bauhaus. Architecture, Design, and Photography in Reverse (2014) * Isa Genzken: Sketches for a Feature Film (1993) * Isabelle Graw: Free to Be Dependent: Concessions in the Work of Isa Genzken (1996) * Diedrich Diederichsen: Subjects at the End of the Flagpole (2000) * Pamela M. Lee: The Skyscraper at Ear Level (2003) * Benjamin H. D. Buchloh: All Things Being Equal (2005) * Wolfgang Tillmans: Isa Genzken: A Conversation with Wolfgang Tillmans (2003) * Diedrich Diederichsen: Diedrich Diederichsen in Conversation with Isa Genzken (2006) * Lisa Lee: "Make Life Beautiful!" The Diabolic in the Work of Isa Genzken (A Tour Through Berlin, Paris, and New York) (2007) * Lawrence Weiner: Isa Genzken Again (2010) * Juliane Rebentisch: The Dialectic of Beauty: On the Work of Isa Genzken (2007) * Yve-Alain Bois: The Bum and the Architect (2007) * Josef Strau: Isa Genzken: Sculpture as Narrative Urbanism (2009) * Hal Foster: Fantastic Destruction (2014)

British artist Michael Landy (b. 1963) is known primarily as an installation artist. His work, along with others associated with the Young British Artists (YBAs), was first catapulted to the world spotlight when it was featured in the notorious Sensation exhibition (1997). His sculptural installations and performances explore political and social themes, such as the nature of consumerism and commodity. In 2009, Landy began a three-year artist residency at the National Gallery, London. He chose to focus his project on representations of saints and their accompanying stories, often gruesome, which were once part of common culture but are now largely unknown. Landy's preoccupation with recycling narratives and repurposing imagery results in Saints Alive, the subject of this book, conceived to include drawings, collages, and a series of kinetic, interactive sculptures with moving parts and sounds.

An interplay of line, form, space This publication showcases and documents the work of the visual artist Judith P. Fischer, whose interplay of line, form, and space coalesces into a multilayered oeuvre. The focus of the book is on the tension between two- and three-dimensional modes of expression, with special attention paid to sculpture and drawing. Structure and haptics characterize Judith P. Fischer's work, and transformation is a recurring motif. The book includes extensive photographic documentation of individual works, spatial views, and exhibitions. In addition, it explores Fischer's creative process. In an interview, the artist provides insights into creative and developmental processes. Portrait of the interdisciplinary artist Judith P. Fischer Elaborately designed book object reflecting key motifs of the artist's work With contributions by Theresia Hauenfels, Cornelia Hellstern, and Elisabeth Nowak-Thaller

A timely photographic exploration of the role of holocaust memorials in Germany. With helpful text, for use by educators and in exhibitions.

Yoshua Okon (Mexico 1970) is a Mexican artist. He is founder of the art spaces La Panaderia, which ran from 1994 to 2002 and SOMA, both in the Mexican capital. Okon's work is in the collection of Museum like the Tate Modern in London, Hammer Museum in Los Angeles, LACMA in Los Angeles, Jumex in Mexico City or Collection Pierre Huber in Switzerland to mention a few. Collateral tracks the politically-engaged video, installation, sculptural and photographic work of Yoshua Okon. Collateral takes on convergences and casualties in the neoliberal economy, offering an archeology of the ruins and damages of global systems of exchange.

Doris Salcedo, a Colombian-born artist, addresses the politics of memory and forgetting in work that embraces fraught situations in dangerous places. Noted critic and theorist Mieke Bal narrates between the disciplines of contemporary culture in order to boldly reimagine the role of the visual arts. Both women are pathbreaking figures, globally renowned and widely respected. Doris Salcedo, meet Mieke Bal. In "Of What One Cannot Speak", Bal leads us into intimate encounters with Salcedo's art, encouraging us to consider each work as a 'theoretical object' that invites - and demands - certain kinds of considerations about history, death, erasure, and grief. Bal ranges widely through Salcedo's work, from "Salcedo's Atrabiliarios" series - in which the artist uses worn shoes to retrace los desaparecidos ('the disappeared') from nations like Argentina, Chile, and Colombia - to Shibboleth, Salcedo's once-in-a-lifetime commission by the Tate Modern, for which she created a rupture, as if by earthquake, that stretched the length of the museum hall's concrete floor. In each instance, Salcedo's installations speak for themselves, utilizing household items, human bones, and common domestic architecture to explore the silent spaces between violence, trauma, and identity. Yet Bal draws out even deeper responses to the work, questioning the nature of political art altogether and introducing concepts of metaphor, time, and space in order to contend with Salcedo's powerful sculptures and installations. An unforgettable fusion of art and essay, "Of What One Cannot Speak" takes us to the very core of events we are capable of remembering - yet still uncomfortably cannot speak aloud.

The provocative three-part project "Black Mirror/Espejo Negro" by the artist Pedro Lasch encompasses a museum installation, photographs of the installation, and this bilingual book, including many of the photos, the artist's statement, and critical commentaries. The project began as an installation commissioned by the Nasher Museum of Art at Duke University to accompany the exhibition "El Greco to Velazquez: Art during the Reign of Philip III." In a gallery adjacent to the exhibit of Spanish Golden Age masterpieces, Lasch placed black rectangular mirrors on the walls, each with an image of a Spanish Renaissance painting behind it. Pre-Columbian stone and ceramic figures, chosen by Lasch from the museum's permanent collection of Meso-American art, stood on pedestals facing toward each mirror and away from visitors entering the room. Viewers were drawn into a meditation on colonialism and spectatorship when, on looking into the black mirrors, they saw the pre-Columbian figures, seventeenth and eighteenth-century Spanish priests and conquistadores, themselves, and the contemporary gallery environment. The book "Black Mirror/Espejo Negro" includes full-color reproductions of thirty-nine photographs of the installation, as well as the text that Lasch wrote to accompany it. In short essays, scholars reflect on Lasch's work in relation to current debates in art history and visual studies, race discourse, pre-Columbian studies, postcolonial theory, and de-colonial thought.

"Contributors." Srinivas Aravamudan, Jennifer A. Gonzalez, Pedro Lasch, Arnaud Maillet, Walter Mignolo, Pete Sigal

"Dimensions of the Surface / Dimensionen der Oberflache" is a comprehensive documentation of the work of the Indian-born artist Nita Tandon, who lives in Vienna. Paintings, drawings, objects and documentations of temporary installations and performances with German and English written commentaries give readers an overview of the formal breadth of the artist's work. Nita Tandon's themes cover the problems of identity and space in the digital age. The many layers of her work and her cross-media approach reach beyond the limits of one-dimensional interpretation attempts. The works documented in this publication have been shown in Austria and abroad. This range of projects is both a complete spectrum of the artist's work, while also offering glimpses of cyles that have yet to be completed.

The historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts. The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance-including what he calls postmodernism's denial of the new-and offers a series of boldly original arguments in their place.

The first book-length study of this influential artist's work, focusing on the participatory role of the human subject rather than the art object. Michael Asher doesn't make typical installations. Instead, he extracts his art from the institutions in which it is shown, culling it from collections, histories, or museums' own walls. Since the late 1960s, Asher has been creating situations that have not only taught us about the conditions and contexts of contemporary art, but have worked to define it. In Situation Aesthetics, Kirsi Peltomaki examines Asher's practice by analyzing the social situations that the artist constructs in his work for viewers, participants, and institutional representatives (including gallery directors, curators, and other museum staff members). Drawing on art criticism, the reports of viewers and participants in Asher's projects, and the artist's own archives, Peltomaki offers a comprehensive account of Asher's work over the past four decades. Because of the intensely site-specific nature of this work, as well as the artist's refusal to reconstruct past works or mount retrospectives, many of the projects Peltomaki discusses are described here for the first time. By emphasizing the social and psychological sites of art rather than the production of autonomous art objects, Peltomaki argues, Asher constructs experientially complex situations that profoundly affect those who encounter them, bringing about both personal and institutional transformation.

The first monograph on Crispin Gurholt, one of Norway's most prolific and interesting contemporary artists. Gurholt, born 1965 in Oslo where he lives and works, studied at the Norwegian National Academy of Fine Art and at the New York University/Film School SCE. With a background in the film industry--he works as a film and music video director in addition to his artistic practice--Gurholt works with professional specialists in relevant fields, including models, lighting technicians, stylists and special-effects technicians. He has found a method that mixes our understanding of the film medium, the photograph, and relational art's involvement with the public, with symbolism and formal composition borrowed from classical painting. All the main phases of Crispin Gurholt's highly personal style are retraced here from the first tableaux vivant to his last video production, concert performances, and live photo site-specific installation. The monograph is also the catalogue of a 2010 exhibition at the Stenersen Museum in Oslo.