Keller Easterling

Amira Gad

Ryan Gallagher

Simon Denny

Moritz Schularick

Products for Organising

Brigitte Schenk

Two parallel solo shows at the Sharjah Art Museum bring contemporary artists Angela Bulloch and Maria Zerres together under one title, framed by the notion of entropy. Likewise, the publication takes the form of two separate but related exhibition catalogs, each leading toward the books center. Entropy appears in fields such as physics or probability theory but in contemporary art, entropy refers to representations of order, disorder and information, and their homogeneity. Entropy is suggested in both artists work in different ways. Bullochs sculptures, installations and sound works reveal her long interest in systems, patterns and rules defining the creative territory between mathematics and aesthetics. Zerress paintings explore the aesthetic languages of abstraction and figuration by emphasizing the blank space between painted areas. Texts by Manal Ataya, Lotte Everts, Amira Gad, Vanessa Joan Mu'ller, Brigitte Schenk and Corinna Thierolf.

Angela Bulloch, Maria Zerres

Considering Dynamics & the Forms of Chaos

Defne Ayas

Cristina Ricupero

What makes crime stories fascinating is that the divisions between the criminal, the victims, and the audience are constantly blurred: we are all potential victims and could perhaps become criminals ourselves. While the exhibition “The Crime Was Almost Perfect” at the Witte de With Center for Contemporary Art in Rotterdam functioned more as a “space for experimentation,” this publication aims to investigate not only detective fiction but the more theoretical, philosophical, and aesthetic aspects of the genre. Published following the closing of the exhibition, this catalogue should be considered a continuation of the project, as a resource in itself, rather than simply documentation or commentary. Taking a more literary approach to the theme, the publication includes commissioned fictive works and three relevant theoretical essays. The essays were chosen, not only to address the participating artists' practices or artworks, but to provide analysis of some of the issues raised in the exhibition. The publication includes Tom Morton's story “The Thick End” and Astrid Trotzig's “threat letters,” as well as essays by Michael Zinganel and Alexandra Midal, and Karl Marx's “The Productivity of Crime.” This book is published on the occasion of the group exhibition “The Crime Was Almost Perfect,” curated by Cristina Ricupero at Witte de With, Rotterdam, January 24–April 27, 2014. Copublished with Witte de With Contributors Alexandra Midal, Tom Morton, Cristina Ricupero, Astrid Trotzig, Michael Zinganel

The Crime Was Almost Perfect

Joseph Constable

A Series of Utterly Improbable, Yet Extraordinary Renditions

Natalia Grabowska

Ishigami's design takes inspiration from roofs, the most common architectural feature used around the world.The design of the 2019 Serpentine Pavilion is made by arranging slates to create a single canopy roof that appears to emerge from the ground of the surrounding park.Within, the interior of the Pavilion is an enclosed cave-like space, a refuge for contemplation.For Ishigami, the Pavilion articulates his 'free space' philosophy in which he seeks harmony between man-made structures and those that already exist in nature.Serpentine Pavilion - 21 Jun 2019 to 6 Oct 2019

Serpentine Pavilion 2019

Junya Ishigami

Amira Gad

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