Slow Graffiti

Slow Graffiti is less a catalogue than a second staging of the exhibition it accompanies, a two-volume object that carries Alex Da Corte's Vienna installation into print with the same appetite for saturated, slightly sinister surfaces.

Published by the Secession with Revolver Publishing in an edition of 400, the work arrives as two staple-bound volumes of 132 and 84 pages with a sticker sheet, designed by Studio Claus Due. The first gathers photographs alongside a conversation between the artist and the critic Bruce Hainley; the second carries Sorcery, a photographic comic strip by Bob Nickas. The exhibition, curated by Jeanette Pacher and shown from 6 July to 3 September 2017, filled the 600-square-metre main hall with a broken urban landscape of neon, velvet-lined walls and patchwork flooring, built around Da Corte's shot-for-shot remake of Jorgen Leth's film The Perfect Human (1967), with the artist as Boris Karloff playing Frankenstein's monster.

Da Corte (b. 1980, Camden, New Jersey) works in Philadelphia, assembling immersive environments from consumer materials, borrowed film language and the iconography of household products. His other publications include A Man Full of Trouble, C-A-T Spells Murder and Marigolds with Karma, Free Roses with MASS MoCA, and TRUE LIFE with Walther Konig.