Anita Iannacchione Book order

The Well Fair is the eponymous Chinese and English catalogue accompanying Elmgreen & Dragset’s first exhibition in China and largest in Asia to date. The duo transforms UCCA’s Great Hall into a fictional art fair by dividing the space into rectangular booths featuring a selection of over 80 works from the past twenty years. The publication completes the exhibition as an ersatz art fair catalogue. A collection of essays by scholars and fair directors addresses the cultural, sociological, psychological, and historical forces that have contributed to the development of art fairs, as well as their potential for the future. Contributors include art historian Christine Mehring, award-winning critic Stefan Kobel, cultural anthropologist Roberta Sassatelli, market psychologist George E. Newman, Frieze Co-Founder Matthew Slotover, and ARCOmadrid Director Carlos Urroz. The catalogue also features an introduction by UCCA Director Philip Tinari, an interview with the artists, and a WhatsApp conversation between Art Basel Director Marc Spiegler, Director Americas Noah Horowitz, and Director Asia Adeline Ooi.

Mit zahlreichen Bildserien zeigt das Künstlerduo erstmals die 43 Performances aus einem Zeitraum von fast 20 Jahren. Neben Bilddokumentationen zu jedem Werk werden die vollständigen Skripte für die Stücke „Drama Queens“ (2007) und „Happy Days in the Art World“ (ein Performa-Auftrag, 2011) erstmalig öffentlich zugänglich. Elmgreen & Dragset: Performances 1995-2011 showcases 43 performances and live works by Danish-Norwegian artist duo Elmgreen & Dragset. The publication marks the first time the artists' practice is considered in depth from a performance perspective. Spanning nearly two decades, from 1995 to 2011, many of the works have never before appeared in a catalogue. The book includes image documentation and descriptions of each work along with full scripts - accessible here for the first time to a broader audience - for the plays „Drama Queens“ (2007) and „Happy Days in the Art World“ (2011), as well as new essays by curators, critics, and art historians including Aaron Betsky, Jens Hoffmann, and Shannon Jackson.