Ian Cheng

Joseph Constable

Rebecca Lewin

Veronica So

Emissaries (2015 - 2017) is a trilogy of simulations about cognitive evolution, past and future, and the ecological conditions that shape it. Each simulation is centred on the life of an emissary who is caught between unravelling old realities and emerging weird ones.For artist Ian Cheng (b. 1984, Los Angeles), the making of Emissaries became a lesson in Worlding - the unnatural art of creating an infinite game by choosing a present, storytelling its past, simulating its futures, and nurturing its changes.This book is for anyone interested in bridging the complexity of Worlding with the finitude of human psychology. Reflecting on his experience making Emissaries, Cheng derives practical methods for seeing and making Worlds as a whole-brain activity. To produce a World, one must summon the artistic masks who already live within us but rarely get to exercise their power.We will get to know the masks of the Director, the Cartoonist, the Hacker, and the Emissary to the World. As we enter into a strange transitional era, Worlding becomes a vital practice to help us navigate darkness, maintain agency despite indeterminacy, and appreciate the multitude of Worlds we can choose to live.Published on the occasion of the exhibition, Ian Cheng: BOB at Serpentine Gallery, London (6 March - 22 April 2018).

Ian Cheng: Emissaries Guide to Worlding

One of the most prominent artists of his generation, Ed Atkins works primarily with High Definition video and text, exploiting and subverting the conventions of moving image and literature. Focussing on the artist's use of language within his practice, A Seer Reader is both the title of the book and of the extraordinary new text written by Atkins especially for the publication.00Focussing on the artist’s use of language within his practice, A Seer Reader is both the title of the book and of the new text written by Atkins which also includes his distinctive drawings. In addition, it features a foreword by Serpentine Galleries directors Julia Peyton-Jones and Hans Ulrich Obrist as well as an essay by writer, curator and academic Mike Sperlinger, which explores and contextualises Atkins’ writing.00Exhibition: Serpentine Gallery, London, U.K. (11.06-25.08.2014).

Serpentine Sackler Gallery, London

Ed Atkins. A Seer Reader

Throughout her career, Hurtado has created an extensive body of paintings, drawings and prints that bear witness to a dedicated and intense engagement with the world around her. This is the ?rst comprehensive and fully-illustrated publication on the artist?s practice, which follows the trajectory of her work through a selection of newly-commissioned texts and images of all works in the exhibition. Sarah Lehrer-Graiwer has written a contextual survey of the artist?s career and its unique course; artist Andrea Bowers has written a text on ?The Equanimity of Luchita Hurtado?; Hurtado?s son, artist Matt Mullican, has written a series of short vignettes about his mother, whilst Barbara Stauffacher Solomon has provided a written response to an archival photograph, attesting to a lifelong friendship with Hurtado that has transcended their respective artistic practices. The book features a new interview between Hurtado and Hans Ulrich Obrist, and an extensive timeline on the artist?s life.00Exhibition: Serpentine Galleries, London, UK (23.05. - 20.10.2019).

Luchita Hurtado: I Live I Die I Will Be Reborn

Etel Adnan

Melissa Larner

Agnes Gryczkowska

Weight of the World

Painter, essayist and poet Etel Adnan works in various media, from painting, drawing, poetry, film and tapestry. This volume presents some of her work and accompanies her 2016 exhibition at the Serpentine Sacklery Gallery in London.

The Weight of the World

Natalia Grabowska

Mr. Huyghe, one of the most admired and intellectually formidable European artists of his generation. -- The New York TimesThis publication is a survey of Pierre Huyghe's practice of the last 10 years.Seminal works are focused on, along with other works that were developed simultaneously. The first of these, THE HOST AND THE CLOUD (2009 -2010), took place on a former museum in Paris; UNTILLED (2012), which was developed during documenta (13); AFTER LIFE AHEAD (2017), was conceived in a disused ice rink as part of Skulptur Projekte Münster; UUMWELT (2018), which was installed first at the Serpentine Galleries in London, and later at Luma Arles, is the culmination of a ground-breaking approach to exhibitions.A conversation between Hans Ulrich Obrist, and an essay by Dorothea von Hantelmann, offer a comprehensive discussion of this period.Drawings, diagrams, plans, text and reference images, photographs and fill stills add to over 400 pages and make this an important reference book.Published on the occasion of the exhibition, Pierre Huyghe: UUmwelt at Serpentine Galleries, London (3 October 2018 - 10 February 2019).

Pierre Huyghe at the Serpentine

Lucy Raven

This catalogue is a direct continuation of Raven's working methods through its collaborative format and multifaceted structure. It brings together a series of commissioned texts, visual essays, stills, and film notes, which examine time and the image from a multitude of perspectives. The book also contains film notes to accompany a series of weekly film screenings curated by Raven, which showcase classical Hollywood and independent feature films that have inspired her artistic trajectory. Raven's work focuses on the marginal spaces at the edges of image production, what happens behind the camera or between the frames of a film or animation. She follows the production of copper wire from an open pit mine in the American West to a smelter in southern China in China Town (2009). She observes post-production technicians converting Hollywood films to 3D in Chennai, India, linking the digitally created illusion of depth to ancient Indian bas-reliefs in The Deccan Trap (2015). This shift of focus from the image to its production encourages interrogation of the kind of imagery that has become all too familiar. Edge of Tomorrow brings together a diverse selection of works in a site-specific installation within the spaces of the Serpentine Gallery. At the heart of the exhibition, a cinematic space features the animated film Curtains (2014), in which a series of still stereoscopic images converge and diverge, becoming momentarily three-dimensional when viewed through anaglyph 3D glasses. Published on the occasion of the exhibition at Serpentine Gallery, London, 8 Dec 2016 - 12 February 2017.

Rebecca Lewin

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