Over the last few years, LOW PROFILE have been invited to contribute towards a number of publications.
Worth The Trip (authors) LOW PROFILE
Penzance: Newlyn Art Gallery (July 2007)
English 112 pp., paperback
ISBN : 978-0954674519
In 2005, Newlyn Art Gallery commissioned a total of six artists (including Low Profile) to make new work in response to the construction of a new gallery space in the centre of Penzance and the extension of the existing Newlyn Art Gallery. Using the gallery’s visitors books as a starting point, we developed a new 112 page publication. read more >>>
“A monumental and ground breaking work. Someone had to do it, thank you! I will never write “very” in a book of any kind again”. Jem Finer
“It is both intriguing and beautiful”. Paul Kelly
Between the vanguard and the peripheral (ed) Paula Orrell
Plymouth: Plymouth Arts Centre (2009)
ISBN 0-978-0-948081-12-5
Between the vanguard and the peripheral documents and explores a series of new commissions and residencies initiated by Plymouth Arts Centre, including new work and projects by artists and curators withyou.co.uk, LOW PROFILE, Anna Best, Barbara Holub, Ultra-Red, Lau Thiam Kok and the Committee for Radical Diplomacy. Larry Lynch’s essay “Low Profile: Processing Preparedness” acts as a critical positioning of LOW PROFILE’s work, exploring their interest in, relationship to, and sometimes reluctant engagement with, live performance.
download “Low Profile: Processing Preparedness” in pdf format >>>
OMSKBOOK: a testing ground for film, video, live art, sound and mayhem (ed) Clare Moloney
London: OMSK
152 pp, paperback, DVD/CD Dual Format Disc
ISBN: 978-0-9556112-0-9
An OMSK event unfolds across numerous rooms, in a building which is neither a gallery, nor a cinema or theatre, so that both artist and audience find themselves in direct encounter with one another. OMSK has taken this element of the live event into the space of the printed book, and given each artist a set of blank pages. Documentation of performances coincides with instructions for use, riffs on the cinema, comic book drawings, art as anatomy, and musings on the presence of the artist.
The publication also offers a critical overview of a dynamic period of change within multi-disciplinary art practice, with guest contributions from Tracey Warr and Helen de Witt exploring artist-led collectives and happenings.
A DVD features some of the most exciting work in moving image from the UK and beyond; and on its flip side is a CD packed with cutting edge sound and music compered by Rob da Bank. In addition, OMSKBOOK includes a Do-It-Yourself guide for artists and curators to propagate future platforms for experimental art.
see Low Profile’s contribution to OMSKbook >>
Black Friday (ed) Christoph Keller
Rotterdam: Piet Zwart Institute & Frankfurt: Revolver (September 2005)
(mainly English) 160 pp., 99 ill., paperback
ISBN 3-86588-098-3
What is Black Friday?
Black Friday, Sept. 24, 1869, in U.S. history, day of financial panic. In 1869 a small group of American financial speculators, including Jay Gould and James Fisk, sought the support of federal officials of the Grant administration in a drive to corner the gold market. The attempt failed when government gold was released for sale. The drive culminated on a Friday, when thousands were ruined—the day is popularly called Black Friday. There was great indignation against the perpetrators. Several other days of financial panic have also been occasionally referred to as Black Friday.
What is Black Friday?
Black Friday, the day after Thanksgiving in the United States, is historically one of the busiest retail shopping days of the year. It marks the official beginning to the Christmas shopping season. The “black” in the name comes from the standard accounting practice of using red ink to denote negative values (in this case, profits) and black ink to denote positive values. Black Friday is the day when retailers traditionally get back “in the black” after operating “in the red” for the previous months.
Looking, Encountering, Staging (ed) Anke Bangma
Rotterdam: Piet Zwart Institute & Frankfurt: Revolver (June 2005)
English, 332 pp., with colour ill., paperback
ISBN 3-86588-012-6
Looking, Encountering, Staging investigates the ways cultural practices (exhibitions, news reports, documentary photography, artistic and scientific discourses) stage their subjects and thus construct positions for their audiences. The contributors analyse how these positions come to be naturalized as ‘given’, or use strategies of staging, performing and re-theatricalization to rethink the role of the artist or curator as mediator and to relocate the viewer.
With essays and visual contributions by Ayreen Anastas, Murat Aydemir, Elena Bajo, Bik Van der Pol, Maaike Bleeker, Martijn Boelhouwers, Maurice Bogaert, Janine Brogt, Deric Carner, Phil Collins, Agnieszka Czajkowska, Dijkman/Osterholt, Annie Fletcher, Maaike Gottschal, Arne Hendriks, Ralph Kaemena, Jeroen Laureyns, Kirsten Leenaars, Maria Lind, LOW PROFILE, Renzo Martens, Claudia & Julia Mueller, Asier Perez Gonzalez, Sarah Pierce, Suzanne van Rossenberg, Hinrich Sachs and Lisette Smits.