Irena Haiduks dual-exhibition at the 14th Istanbul Biennal and the Renaissance Society, Seductive Exacting Realism by Marcel Proust 12, is a stand-in for a missing volume in Prousts collected works. The 13-volume edition published in Yugoslavia in 1967, with its elegant translation from the French by poet Tin Ujevic, was highly valued by the intelligensia and often stolen and sold on the black market during the Bosnian civil war. Haiduks exhibit features a set that was missing Volume 12 that was seized by local police in 1995 and acquired at public auction in 2014. Presented along with video and taped interviews investigating the dangerous journeys taken in revolutions, the project suggests parallels for artists. The catalog includes installation shots, an interview by Solveig vsteb, writings by Ivo Andric, Hannah Feldman, Monika Szewczyk and Marina Vishmidt on artist journeys into revolution.

The artist's first comprehensive monograph, the book contains documentation of a large selection of works since the early 2000s. Three commissioned essays provide various approaches to the reading of Einarsson's oeuvre. Bob Nickas situates the reader in a science-fiction-inspired future scenario where a book that turns out to be an exhibition catalogue forms the basis for the attempts of the main characters to penetrate into the artist's universe of signs. The philosopher Nick Land outlines a complex interpretative horizon in the encounter with Einarsson's precise analyses of the language of power by exploiting and reactivating the vocabulary of "post-Minimalist" art. And Martin Herbert tackles Einarsson's output in the 2000s, and shows how he continually problematizes the residual potential of art as critique and political tool.--Supplied by publisher.

This major publication considers the Renaissance Society's first hundred years. The volume features contributions from Davarian L. Baldwin, Susan Bielstein, Bruce Jenkins, Pamela M. Lee, Nina Möntmann, Liesl Olson, R.H. Quaytman, Anne Rorimer, and Aoibheann Sweeney. It also includes an interview between Susanne Ghez, Solveig Øvstebø, and Hamza Walker, and a comprehensive timeline of the institution's programming over 100 years.

The second of two books published alongside Strau's 2014 Renaissance Society exhibition, The New World, Application for Turtle Island, this features an essay by Jay Sanders alongside introductions to different aspects of Strau's practice by artists with whom he has recently collaborated: Bernadette Van-Huy, Stefan Tcherepnin, Antek Walczak, Fernando Mesta, and José Rojas. Also included are full color images of the installation and an exhibition checklist, as well as an introduction by Solveig Øvstebø and a text by Strau.

Published on the occasion of Nora Schultz's exhibition Parrottree-Building for Bigger than Real, January 12 - February 23, 2014. It was Schultz's first solo museum show in the US and the first show curated at the Renaissance Society by new Chief Curator and Executive Director, Solveig Øvstebø. Nora Schultz: Parrottree is a unique and ambitious hybrid between exhibition catalog and artist's book. Along with photo documentation of the Renaissance Society installation and an essay by the curator Solveig Øvstebø, the publication also includes The Parrot Magazine by Nora Schultz, a 64-page magazine "made by parrots for parrots and for all birds that need to integrate into human society under aggravated circumstances." Additionally, experimental writing pieces by Keren Cytter and Seth Price, and a visual art project by John Kelsey were all commissioned specifically for this book.

For several decades Norwegian artist Knut sdam has worked independently and uncompromisingly with his artistic projects, and he is today considered one of the central contemporary practitioners of film and video art. This book appears as a result of sdam's 2010 exhibition at Bergen Kunsthall, and the production of his two new films Abyss and Tripoli (both 2010). Concepts like transformation and relocation constitute a thematic framework for most of sdam's works. In his films and photographs, for example, relocation is about the migration of people between land areas, or about physical movement and the bodily experience of architecture in urban surroundings. Transformation is a key word in terms of social, economic, linguistic, psychological, identity-related and architectural processes of change. Underlying this is an awareness that the meaning of architecture is changeable and that it is experienced and expressed differently by different social groupings. Perhaps even more than before, the places portrayed are themselves central to the new films Abyss and Tripoli, not only as generic urban surroundings, but also with their distinct histories, demographic conditions, and architecture. sdam has long worked with the exploration of all the components of the language of film, and consequently the filmic has also become a central theme in this book. Under the title The long gaze, the short gaze, this publication presents a collection of new commissioned texts that do not only deal with the new films, but also place them in a retrospective context with the whole of sdam's film production in the 2000s. Co-published with Bergen Kunsthall

Between the Ticks of the Watch is the catalog to the exhibition of the same name at the Renaissance Society. The show featured artists Kevin Beasley, Peter Downsbrough, Goutam Ghosh, Falke Pisano, and Martha Wilson, who together presented a platform for considering doubt as both a state of mind and a pragmatic tool. Between the Ticks of the Watch traces how doubt can eat away at the foundation of understanding itself, calling into question the very possibility of knowledge--or at least demanding recognition of its limitations. Featuring two new in-depth essays, a poetic text, and contributions by the artists featured in the exhibition, this catalog further presents doubt as a critical means for identifying new avenues of inquiry. The texts open space for the germination of novel forms and concepts, or questioning structures of power that have long been in place.

"The work of Rachel Harrison is both the zestiest and the least digestible in contemporary art. It may also be the most important." -Peter Schjeldahl, The New Yorker Sitting in a Room highlights the recent work of New York-based artist Rachel Harrison (born 1966), who takes a porous, hybrid approach to objects both made and found. Spanning mediums that include sculpture, drawing, photography and painting, Harrison's nimble, layered method has always escaped easy categorization. Abstraction is shot through with vernacular references to jarring, often comic effect, as formalist concerns are forced to vie with rogue elements from the outside world. Published in conjunction with her exhibition at the Astrup Fearnley Museet, this volume--which takes its name from a seminal work of sound art by Alvin Lucier--documents the show's distinctive format, with each gallery conceived as a specific room. From Sculpture Court to Town Square, Gym, Living Room and Cabinet, the exhibition places the viewer in contexts both intimate and public, and the original essays commissioned here expand and deepen those trajectories. Designed by Joseph Logan in close collaboration with the artist, this richly illustrated volume includes Harrison's own photography of Sitting in a Room and reflects her unique approach to the making of both exhibitions and the catalogs that outlast them.

In connection with the exhibition 'Tetrachromat' by Tauba Auerbach, Bergen Kunsthall and Sternberg Press are publishing a new book that presents Auerbach's ongoing series of "Fold" paintings for the first time in book form. In these paintings Auerbach twists and folds the canvas before applying the paint. In its stretched form the flat canvas retains a trompe l'oeilrendering of its previous three-dimensional state. Transferred to the medium of the book, the paintings are presented here in a new and unexpected way alongside mathematical diagrams and three texts. Auerbach works with a number of printed media, and the book enjoys a quite central position in her oeuvre: from highly sophisticated book sculptures that are somewhere between physical objects and non-narrative books, to a series of individually made artist books - a pop-up book where six detailed paper sculptures emerge from the book's pages.