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IF ORDERING MORE THAN ONE BOOK, PLEASE EMAIL ME AND I WILL SEND A PAYPAL INVOICE (YOU D
O NOT NEED A PAYPAL ACCOUNT). THIS WILL SAVE YOU POSTAGE COSTS

sharonkivland@wanadoo.fr



The Lost Diagrams of Walter Benjamin, 2017
ISBN 978-1-910055-36-6  
120 pages
205 mm x 140 mm
Format: Paperback
£12.50

Edited by Helen Clarke & Sharon Kivland
Essays by Helen Clarke, Sam Dolbear, & Christian A. Wollin

THE LOST DIAGRAMS
Cos Ahmet, Alberto Alessi, Sam Ayres, Patrizia Bach, Martin Beutler,Riccardo Boglione,Vibe Bredahl,
Pavel Buchler & Nina Chua, Emma Cheatle, cris cheek, Kirsten Cooke, Anne-Marie Creamer, Amy Cutler,
Vincent Dachy, Matthew Dowell, Joanna Leah Geldard, Theresa Goessmann, Michael Hampton, Ronny Hardliz, Miranda Iossifidis, Joe Jefford, Dean Kenning, Tracy Mackenna, Bevis Martin & Charlie Youle, John McDowall, Katharine Meynell, Paul O’Kane, Hephzibah Rendle-Short, Mark Riley, Katya Robin, Hattie Salisbury, Isabella Streffen, Stefan Szczelkun, George Themistokleous, Monique Ulrich, Emmanuelle Waeckerle, Matthew Wang, Julie Warburton, Alexander White, Lada Wilson, Louise K. Wilson, Mark Wingrave, Mary Yacoob

In A Berlin Chronicle Walter Benjamin describes his autobiography as a space to be walked (indeed, it is a labyrinth, with entrances he calls primal acquaintances). The contributors to The Lost Diagrams respond to the invitation to accompany Benjamin in reproducing the web of connections of his diagram, which, once lost (he was inconsolable), was never fully redrawn. They translate his words into maps, trees, lists, and constellations. Their diagrams, after Benjamin, are fragments, scribbles, indexes, bed covers, and body parts. Subjectivities sharpen and blur, merge and redefine, scatter and recollect. Benjamin writes: ‘Whatever cross connections are finally established between these systems also depends on the inter-twinements of our path through life’.

‘The capacity of Walter Benjamin’s work to inspire others is extraordinary, and this small book of ‘lost diagrams’ is a splendid example. […] This archive of maps by readers of Benjamin suggests an unexpected form of solidarity.’
—Susan Buck-Morss

‘[T]he diagrams in this book trial the possible clusters of a life curtailed, one tailored to small means, but immense in imagination: Walter Benjamin’s.’
—Esther Leslie

NEW IN THE GOOD READER SERIES

Jamie Crewe, GLAIRE, 2017
Edition of 50,
each numbered and signed
ISBN 978-1-910055-33-5
28 pages
130 mm x 190 mm
Format: softback, sewn
£5.00
Glaire is a text from Jamie Crewe’s performance Potash Lesson (2016), and a new drawing, originally presented in a work aligning Victorian treatments of hysterical women with contemporary expressions of transgender femininity. Glaire contains two theatrical scenes from Une leçon à la Salpêtrière (1908), written by André de Lorde for the Grand Guignol theatre, Paris. A printed edition of the play, which describes a gory scenario of disease, abuse, and revenge in the Pitié-Salpêtrière hospital, has been digitally scanned through OCR (optical character recognition), then translated using Google Translate. Words are fractured through the automatic peculiarities of OCR, and distorted through automatic translation from French to English. Phrasing, form, and gender are warped. Claire, the injured and vengeful young woman of de Lorde’s play, becomes a textual force with a constantly shifting name, misgendered, belittled, and pitied by doctors (and stage directions) who make no more sense than she.


Annabel Frearson, WOLLSTONOCHLINCRAFT 1791–1971, 2017
Edition of 50, each numbered and signed
ISBN 978-1-910055-32-8
20 pages
130 mm x 190 mm
Format: softback, sewn
£5.00
Wollstonochlincraft 1791–1971 forges compound neologisms from two emblematic feminist texts that are mirrored in their dates and message: A Vindication of the Rights of Woman (Wollstonecraft, 1791) and Why Have There Been No Great Women Artists? (Nochlin, 1971). Their historic argument recursively resonates in a digitised neoliberal realm to reflect a contemporary reality and dystopian future trajectory.Linda Nochlin has kindly selected the words for inclusion.

NEW:

Naomi Toth & Vanessa Place, After Vanessa Place, 2017
ISBN 978-1-910055-31-1 
1 80 pages
205 mm x 140 mm
Format: Paperback
£15.00
Coming and going after is Echo’s affair; it is also the stuff of conversational pursuit. After Vanessa Place is an email exchange between poet and artist Vanessa Place and critic Naomi Toth on the backsides of speech and sight, where repeating and being conflate and confound in the trialectic of message, meaning, and motion. To be read as it is, or backwards, after the manner of history. And, echoing history, what’s missed calls for more.

 ‘The lovers’ discourse in the second act of Richard Strauss’s Der Rosenkavalier is interrupted by two eavesdroppers who seize the interlocutors and expose their intimate tête-à-tête. In a quadruple macaronic relay the first cries ‘ecco’ [here], the second repeats the exclamation, and a sixteenth-note octave drop from the trombones and bassoons mimics the vocal cadence so that one can hear in ‘here’ the echo in ecco. Readers of the richly resonant and provocative dialogue in After Vanessa Place, by turns restive and illuminating, fun and rigorous, diverting in every sense of the word, will find themselves participating in the same drama.’ – Craig Dworkin


Emptiness & Silence. A Supplement to Reading Nana, 2017
ISBN 978-1-910055-32-8 12 pages
140 mm x 205 mm
Format: softback, sewn
£3.00

READING NANA. An experimental novel, 2017
ISBN 978-1-910055-30-4
MA BIBLIOTHÈQUE,
140 mm x 205 mm, 104 pages, perfect-bound
£10.00
Emile Zola's novel Nana is re-read and re-written,ghost-written, condensed according to soft furnishings, lighting effects (including metaphor), other women, death and dying, cats, anti-semitism, money, odour, and many other categories.

THE DREAMERS, 2017
Ameena Anjum, Ameera Al-Aji, Andrea Berry, Emma Bolland, Luke Chapman, Helen Clarke, Louise Finney, Rebecca Jagoe, Sharon Kivland, John McDowall, Debbie Michaels, Rachel Smith, Rachel Taylor, Lunzhao Wu
ISBN 978-1-910055-29-8
MA BIBLIOTHÈQUE
130 mm x 190 mm, 148 pages, perfect-bound
£10.00 / 12 euros
Writing, Walking, Dreaming… Walking (literally and figuratively, one might say sleepwalking) is explored herein. Walking and dreaming provide ways of knowing a place. They lead to encounters with strangers and with ourselves. The city is the stage for autobiographical encounters; where houses and memories meet; where the uncanny is both home and away; where the stranger leads us down the rabbit hole. There are drifts through Jacques Lacan’s Seminar on ‘The Purloined Letter’ and Walter Benjamin’s ‘A Berlin Chronicle’; urban nightmares; the homesick child; enigmatic staircases; snapshots of the past and lost objects; reflections on writing; seeing words as images; an d prophetic dreams. Amsterdam slips into a New York bar, and a dystopian group recounts its anxieties.



Sharon Kivland, A LOVER'S DISCOURSE, 2017
ISBN 978-1-910055-28-1
MA BIBLIOTHÈQUE
140 mm x 205 mm, 104 pages, perfect-bound
£10.00 / 12 euros
I read unsolicited ‘encounter’ emails as if they were intended for me alone in a sincere desire for a real love relation, until their repetition bored me.I posted them on Facebook, while I sought their form. My friend A. C. wrote to tell me how much he was enjoying my lover’s discourse. The form became clear: after the French edition of Roland Barthes’s Fragments d’un discours amoureux (“Tel Quel”, Seuil, 1977).

Peter Jaeger, THE SHADOW LINE, 2016 (in THE GOOD READER series)
Afterword by Robert Hampson
ISBN 978-1-910055-25-0
130 mm x 190 mm, 56 pages
£9.00 / 11 euros
Peter Jaeger’s The Shadow Line literally and figuratively shadows Joseph Conrad’s 1917 novella The Shadow Line by reading the original and re-writing its non-identical twin.

FOOTNOTES TO CAPITAL. VOLUME I
A series that will run to thirty-three volumes, one for each chapter of Capital, as I continue to reproduce the footnotes therein. Each book has an attractive dust-jacket in Financial Times pink, and contains a tipped-in photograph of nicely-shod women's feet as a frontispiece.Each is printed in an edition of 30, each signed and numbered, 130 x 197 mm, one tipped-in duo-tone photographic plat, from 16 to 48 pages.
£10.00 / EUR 12,50

Chapter 6: Contradictions in the General Formula, 2016
ISBN 978-1-910055-20-5


Chapter 6: The Sale and Purchase of Labour Power, 2016
ISBN 978-1-910055-21-2

See below for details of books I to IV.

MOI, 2016
Edition of 100, signed and numbered
ISBN 978-1-910055-26-7
130 mm x 165 mm, 16 pages
£5.00 / EUR 6,00
The straplines of a number of advertisements drawn from magazines of the 1950s are turned into drawings, as though a particularly vain and narcissistic woman speaks (as of course she does), She is ‘en pleine forme’ of her beauty.

EN TOUTE INTIMITÉ, 2016
Edition of 50, each signed and numbered
ISBN 978-1-910055-27-4
150 mm x 195 mm, 36 pages, eight hand-coloured illustrations
£15.00 / EUR 20,00
It is a story of theft, of the kleptomania that is the crime of capital. Of desire invented and institutionalised. Of dizzying circulation. Of ‘apéritifs du crime’. Of hysterical causality. Of women crazy about their body. Of ‘wanton’ women. Of mad women. Of labour, of the means of production.  MARCHANDISE.



ENFANTS, tome I, 2016
ISBN 978-1-910055-22-9



ENFANTS, tome II, 2016
ISBN 978-1-910055-23-6

ENFANTS, tome III, 2016
ISBN 978-1-910055-24-3

The above are in a series collecting and reframing found images that cast a rather unsavoury, indeed, sinister, gaze on a representation of childhood. ENFANTS are in editions of 100, each signed and numbered. Each book has 16 pages, and is 105 mm x 150 mm. 
£5.00 / EUR 6,00


LALANGUE
Ma bibliothèque, London, 2016
Edition of 100
ISBN 978-1-910055-17-5
Broadsheet newpaper, endorse folded, with accompanying pamphlet, both digitally printed
£10/ 12,50 euros

Lalangue is a report of language without words, where words are replaced by images, and mouths are blocked. To be a body is to be woven from language. The body of the speaking being is imprisoned and determined by the signifiers of maternal speech.

Only available through Anagram, Berlin.


LE REGNE DE BÉBÉ
Ma bibliothèque, London, 2016
Edition of 50, each signed and numbered
ISBN 978-1-910055-19-9
150 mm x 105 mm
16 pages, plus cover, black and white photographs, and just a touch of delicious colour
£5 / 7 euros



His majesty, the baby. À l'enfant cheri.

Only available through Anagram, Berlin.

LES PETITES FILLES MODÈLES
Ma bibliothèque, London, 2016
Edition of 50, each signed and numbered
ISBN 978-1-910055-18-2
150 mm x 105 mm
16 pages, plus cover, black and white photographs, and just a touch of delicious colour
£5 / 7 euros


The good little girls. Dèdié à votre enfant.

Only available through Anagram, Berlin.

THE GOOD READER is a new series of booklets published by MA BIBLIOTHÈQUE. THE GOOD READER addresses reading, as both virtue and duty. The editor invites authors she considers to be good readers. She agrees with Nabokov that a good reader, a major reader, an active and creative reader, is a re-reader.

Jamie Crewe, GLAIRE, 2017
Edition of 50,
each numbered and signed
ISBN 978-1-910055-33-5
28 pages
130 mm x 190 mm
Format: softback, sewn
£5.00
Glaire is a text from Jamie Crewe’s performance Potash Lesson (2016), and a new drawing, originally presented in a work aligning Victorian treatments of hysterical women with contemporary expressions of transgender femininity. Glaire contains two theatrical scenes from Une leçon à la Salpêtrière (1908), written by André de Lorde for the Grand Guignol theatre, Paris. A printed edition of the play, which describes a gory scenario of disease, abuse, and revenge in the Pitié-Salpêtrière hospital, has been digitally scanned through OCR (optical character recognition), then translated using Google Translate. Words are fractured through the automatic peculiarities of OCR, and distorted through automatic translation from French to English. Phrasing, form, and gender are warped. Claire, the injured and vengeful young woman of de Lorde’s play, becomes a textual force with a constantly shifting name, misgendered, belittled, and pitied by doctors (and stage directions) who make no more sense than she.

Annabel Frearson, WOLLSTONOCHLINCRAFT 1791–1971, 2017
Edition of 50, each numbered and signed
ISBN 978-1-910055-32-8
20 pages
130 mm x 190 mm
Format: softback, sewn
£5.00
Wollstonochlincraft 1791–1971 forges compound neologisms from two emblematic feminist texts that are mirrored in their dates and message: A Vindication of the Rights of Woman (Wollstonecraft, 1791) and Why Have There Been No Great Women Artists? (Nochlin, 1971). Their historic argument recursively resonates in a digitised neoliberal realm to reflect a contemporary reality and dystopian future trajectory.Linda Nochlin has kindly selected the words for inclusion.

Peter Jaeger, THE SHADOW LINE, 2016
Foreword by Robert Hampson
Edition of 50, signed and numbered
ISBN 978-1-910055-25-0
130 mm x 190 mm, 56 pages
£9.00 / 11 euros
Peter Jaeger’s The Shadow Line literally and figuratively shadows Joseph Conrad’s 1917 novella The Shadow Line by reading the original and re-writing its non-identical twin.

Peter Jaeger has produced poetry, criticism, hybrid creative-critical research, and artists’ books. His most recent publications are John Cage and Buddhist Ecopoetics (2013), 540493390 (2014) and A Field Guide to Lost Things (2015). Jaeger is Professor of Poetics at Roehampton University.

Robert Hampson is Chair of the UK Joseph Conrad Society, the author of three monographs on Conrad (including Conrad’s Secrets, 2012), and the editor of a number of Conrad's works. He has written several books of poetry and is Director of the MA in Creative Writing at Royal Holloway.


Chris Gibson, BETWEEN THE LINES, 2015
Edition of 50, each signed and numbered
ISBN 978-1-91005516-8
130 mm x 190 mm
32 pages , plus cover, one colour illustration
7 euros plus 1,50 euros for post and packing
‘Paris is a symbol and a real place. It’s a place where I’ve had so many formative experiences, but it’s also a place which has so frequently been described. I came across a stash of Paris guide books online and enjoyed leafing through them—tracing outlines of places I had been. Even at their most lively, guidebook descriptions can be dry, and flicking through them I became aware of my memories filling the space between the lines.’
The book alternates the places and description of a love affair with banal extracts from travel guides to Paris; to scan code on the guide page takes the reader to the full publication of the guide, while the love affair cannot be fully read, of course.

Chris Gibson is an artist who works with books to produce intimate narrative and text-based art works. His work documents personal experiences, often in relation to a particular place.

 

Timothy Perkins, LOSS, 2015
Edition of 50, numbered
ISBN 978-1-910055-13-7
130 mm x 190 mm
24 pages, plus cover, black and white photographs
7 euros plus 1,50 euros for post and packing
'I’ve been looking at the urban environment, changes occurring in Paris, along the border, out in the suburbs. Looking for resistance to an order coming into place. Opposition that might still exist, that is rapidly disappearing from this city. Social cleansing in relation to the poor, ethnic cleansing of the Roma, Syrians and others, moral cleansing of prostitutes, cruising areas. Movements away from tolerance, away from the chaos of life, exported like production to other lands. A government, a society hell-bent on cleanliness, control. At war with that that is not in line with neoliberalism. How inhuman, undemocratic the methods, the goals.'

Timothy Perkins studied architecture and art. He lives and works in Saint Ouen, France, and teaches at the Ecole nationale supérieure de création industrielle – les ateliers in Paris.





Manon Alberger / Elina Bry / Louise Creuzeau/ Léïla Grandin / Luka Hair / Marion Le Glévic/ Anne-Sophie Moreau / Clotilde Noël / Mélissa Tovar, SCREENPLAY / SCÉNARIO, 2015
Edition of 50, numbered
ISBN 978-1-910055-14-4
130 mm x 190 mm
24 pages, plus cover, one black and white photograph
7 euros plus 1,50 euros for post and packing
As part of a two-day writing workshop, students of the Ecole des beaux-arts in Le Mans were given a black and white photograph, with a small pretence of apposite pairing (‘This one is for you.’). The photographs, with one exception, are postcards, intended to be posted to another, bearing the open dual message of image and text. It was suggested that these postcards, assumed to have reached their destination, should be the starting point for a film script for an imagined or remembered film, to be considered as a film still. Each is a fragment, which provoked a short text, and each short text is collected here. Sometimes translation fails, and the writer returns to her/his language. At times the writer slips between tongues, between words, or there is an odd inflection. Each image disappears in or under language, as attention fails or digresses. The editor has had a light hand. The original images (which are not at all original) are not present. Following Deleuze, the image is not confined to the visible, but encompasses an amalgam of affects, knowledge, and feelings. Detours are taken, producing new narratives or resistance to narrative.





The Good Reader, THE EDITIONS II
17 books by seventeen authors, held in a slipcase/cover
Edition of 25, numbered, held in paper slipcase
ISBN 978-1-91055-15-1
130 mm x 190 mm
Each book: 24 pages plus cover
68 euros, plus 3,50 euros for post and packing

Download a pdf# for further information

The good readers read certain material with close attention. Sometimes they comment, exchange, or alter texts, their own or those of others, signalling their strategy (or not). Sometimes they make excuses or are distracted. Herein is an anthology of their virtuous reading, a compilation on and of reading.

MES MARIANNES
Ma Bibliothèque, London, 2015
Edition of 50, each signed and numbered
ISBN 978-1-910055-12-0
115 mm x 175 mm
20 pages plus cover, 11 colour illustrations and 1 photographic plate
9,00 euros plus 1,50 euros for post and packing

The Parisian sans-culottes displayed their revolutionary ardour and plebeian solidarity in 1789 by wearing the Phrygian cap, the bonnet rouge. Herein there are only women, Mariannes who are all bonnet, who are nothing but phallic silhouettes, which oscillate between difference and equality.

Vey few remaining.

FOOTNOTES TO CAPITAL. VOLUME I

A series that will run to thirty-three volumes, one for each chapter of Capital, as I continue to reproduce the footnotes therein. Each book has an attractive dust-jacket in Financial Times pink, and contains a tipped-in photograph of nicely-shod women's feet as a frontispiece.

Chapter 1: The Commodity
Ma bibliothèque, 2014
ISBN 978 1 910055 07 6
Edition of 30, each signed and numbered, softback, stapled/sewn, dustjacket
130 x 197 mm
36 pages, one tipped-in duo-tone photographic plate
12,50 euros, plus 1,50 euros for post & packing

Very few remaining.


Chapter 2: The Process of Exchange
Ma bibliothèque, 2014
ISBN 978 1 910055 06 9
Edition of 30, each signed and numbered, softback, stapled/sewn, dustjacket
130 x 197 mm
16 pages, one tipped-in duo-tone photographic plate
12,50 euros, plus 1,50 euros for post & packing

Chapter 3: Money, or the Circulation of Commodities
Ma bibliothèque, 2014
ISBN 978 1 910005 08 3
Edtion of 30, each signed and numbered, softback, stapled/sewn, dustjacket
130 x 197 mm, one tipped-in duo-tone photographic plat12,50 euros, plus 1,50 euros for post and packing

Chapter 4: The General Formula for Capital
Ma bibliothèque, 2015
ISBN 78-1-910055-09-0
Edition of 30, each signed and numbered, softback, stapled/sewn, dustjacket
130 x 197 mm
16 pages, one tipped-in duo-tone photographic plate
12,50 euros, plus 1,50 euros for post & packing



FOLLES DE LEUR CORPS/CRAZY ABOUT THEIR BODIES

CGP London, in association with Ma bibliothèque, 2014
ISBN 0 95 363405 1
Designed by James Brook
Edition of 300, softback
96 pages, one tipped-in colour plate, hand annotation by Linda Stupart
175 x 113 mm
14 euros plus 1,50 euros for post and packing

Short texts and essays written in in response to Kivland's textual descriptions of works in the eponymous exhibition held at CGP London in 2014: PASCAL BEAUSSE, ALISON J. CARR, VINCENT DACHY, RACHEL GARFIELD, CHRIS GIBSON, CATHERINE GRANT, JOHAN F. HARTLE, RALF F. HARTMANN, FRANCIS HASELDEN, JAMES HELLINGS, JEAN-MARC HUITOREL, JASPAR JOSEPH-LESTER, ESTHER LESLIE, JULIET FLOWER MacCANNELL, FORBES MORLOCK, DANY NOBUS, SANJA PEROVIC, JOHN W. P. PHILLIPS, STEVE PILE, STEFAN SZCZELKUN, JOSHUA SIMON, LINDA STUPART, JOHN TIMBERLAKE, SARAH WOOD.

Subjects include: anger, frou frou, voluptuous eroticism, royal spectacle, social order, a seductive mob, wild animals, writing in the air, arrests and trials, the cost of gold and blood, a body of flesh and slavery, measures of subjectivity, incompatible orders of time, new fashions, relations of power, the chorus of goods, value form, modern frocks, Bambi’s mother, a dazzling coat, exchange value, cock-teasers, the dance of death, lingering and fickle scent, universal appeal, patriotism, small transgressions, silk underwear,fetishism of merchandise, watchwords, art-cadia, revolutionary ardour, commodification of dissent,shared desires, erotic reverie, little charmers, civil disobedience, taut rumps, opulent licentiousness, chance encounters, feigned compliance, the dernier cri, passive citizens, enchanted waters, agit-disco, heritage of listening, bookshop, literary territory, library, suggested reading.



NANA VIT SA VIE

Ma bibliothèque, 2014
ISBN 978 1 910055 01 4
Edition of 50, each signed and numbered, stapled/sewn
105 x 150 mm
16 pages
6 euros, plus 1,50 euros post & packing

A woman dances … she wonders if she is happy
A description of Nana's dance performed by Anna Karina from Vivre sa vie (1962) by Jean–Luc Godard, observed, remembered, and on occasion, danced, by Sharon Kivland, to the accompaniment of 'Swing Swing Swing' by Michel Legrand.

Very few remaining.

THE UNACHIEVED
Ma bibliothèque, 2014
ISBN 978 1 910055 02 1
Edition of 25, each signed and numbered, softback, stapled/sewn
170 x 240 mm
36 pages

Anything can be possessed, invested in, or, in terms of collecting, arranged, sorted, and classified.
–Jean Baudrillard
This is a book of failed collections. Herein are postcards, the taxonomy of which I have already determined, filing each image under a provisional title according to the set of properties I believe it might share with others yet to be found (the title is retained and indicated in the table of contents that follows), but which to date have not been accrued in sufficient quantity (often – indeed, usually – there is only one) to constitute a proper collection according to my stern, rigorous, and (I must admit) internalised rules. Some postcards may find a place in another collection at a later time, of course, then requiring a new name, a new label on the dossier (it is true to say that frequently I reclassify; my collections are seldom fixed in any permanently satisfactory manner), while others may be destined to remain singular. This is strangely comforting.

OUT OF PRINT

REPORT ON KNOWLEDGE
Ma bibliothèque, 2014
ISBN 978 1 910055 04 5
Edition of 60, each signed and numbered, softback, stapled/sewn, with a black-linen cloth spine and red silk bookmark
130 x 188 mm
44 pages
6,00 euros, plus 1,50 post & packing

A report published following my participation in Library Interventions at Leeds College of Art. As I was rather busy at the time, I realised how much easier my work would be if others were to undertake it for me. to go in my place and do my reading for me, acting as my agents, imagining what I would read and to what ends (subjects are various). It is, I suppose, a master/slave relation, after Hegel, for there is lordship on my part, and a form of bondage on theirs (at least initially, for if one considers Hegel’s dialectic, after thesis and antithesis, there is self-realisation, and thus freedom). As the deadline approached and proposals from hopeful agents were submitted, some of those I received did not quite realise it was all about me, and not about them, that I had issued an imperative to come to heel. There was a certain gratification in saying that, even if they did not hear me. I had thought it self-evident that a slave cannot take the place of the master except through and after servitude. The struggle against mastery started before the work began.

Freud on Holiday.Volume IV
A Cavernous Defile, Part I

Cube Art Editions, Athens 2013
With Lucia Farinati
Foreword by Forbes Morlock
Edited by Eleni Saroglou
Designed by Christos Lialios
English edition ISBN: 978-618-80384-7-9 (2013)
144 pages / 104 b & w images230 x 145 mm
soft cover with jacket / 600 copies
Price: 25 € plus 2 euros post & packing

‘Kivland invites us to go on Holiday, with Freud: up mountains, we walk; through streets, along the lake. We pick mushrooms. We go on adventures. Sometimes, we lose our way home. We digress. Interweaving meticulous historical research, Kivland’s own retracing of Freud’s steps, and her personal memories. This is a creative reimagining not just of Freud on Holiday, but of the nature of biography itself. Poignant, evocative, passionate – this is a dream of a book.’
Steve Pile, The Open University, UK

‘The relaxed tone of the Freud on Holiday series smuggles in an unsuspected intensity that is difficult to get at without losing one’s cool, overdoing it or otherwise dropping the pretense of reception, recognition, assimilation. I’m talking about the desire these books prompt in me for an experience of departure, perhaps one of those ‘little precipitates of language’ that happened to Derrida when he was on the move.’
Sarah Wood, Oxford Literary Review

Since 2006 Sharon Kivland has been reconstructing the holidays of Sigmund Freud. Her holidays—Freud’s holidays—have led her to dream of Rome, to Trieste, to Athens, and to the forgetting of a foreign name in several locations when her holiday plans came to very little. There have been other ports of call en route and many digressions. Like Freud, often she suffers from Reisemalheur. In A Cavernous Defile she walks or describes walks, frequently repeating herself, pausing, covering old ground; she sends and receives postcards; she goes to the mountains in the place of another after sending another in her place. Her detours increase and her step is distinctive. The book is about walking and writing, about daughters and fathers and women alive and dead.

MADAME BOVARY
Ma Bibliothèque, 2013
ISBN 978-1-910005-00-7
Edition of 25, 20 softback, five hardback
126mm x 196mm
24 pages, full colour illustrations
The softback version is terribly cheap, only £4.99. The hardback is terribly expensive, £99.99, but utterly fabulous, with gold blocking, red endpapers. It is, one might say, the difference between Emma alive and Emma dead. There is only one copy of the latter still available, on request.

From 'The Nabokov Paper' an invitation from Kate Briggs to reactivate the examination conditions at Cornell University, in which participants were invited to select and respond to one of Vladimir Nabokov's questions on seven major literary works. Madame Bovary by Gustave Flaubert (1856): Describe Emma's eyes, hands, skin, sunshade, hairdo, dress, shoes, paying particular attention to and correcting any blunders in the translation.

 



JEUX DE LIGNES
DOMOBAAL editions, 2013
ISBN 978-1-905957-38-5
Edition of 50
130mm x 200mm
16 pages plus cover
Black and white with two hand-coloured tipped in photographic illustrations
30 euros plus 1,50 euros for post and packing

The notes on corsets, girdles, and brassieres from a French lingerie journal of the 1950s are translated in a rather literal fashion. There are no illustrations save for a drawing at the beginning––a short girdle with a waistband under a tweed dress––and one at the end––a supple corset allows a décolleté for a cocktail dress––for I am sure my reader has a playful imagination and will embellish the words with ease.

Freud on Holiday
APPENDICES

ALL FOUR APPENDICES ARE AVAILABLE AS A SET BOUND WITH AN ATTRACTIVE BAND
AT A SPECIAL PRICE OF 30 euros plus 1,50 for post and packing FOR THE SET OF FOUR

Sharon Kivland brings us close to Freud at ease – relaxed, ordinary, and invigorated by travel – these little books are talismans for those who value pleasure and freedom. Sarah Wood, Oxford Literary Review

Almost every year Sigmund Freud went on holiday, often accompanied by his brother Alexander, an expert on railway transport, timetables, and travel tariffs. He made a distinction between the holidays he spent with his family during the month of August and those voyages he took later, most often in September, with complicated itineraries. Freud prepared carefully for his trips, consulting tourist guides and other travel literature concerning the places he intended to visit attentively, especially those of the sites of classical antiquity, and of course, the famous Baedeker. The fifty-six letters and hundred and eighty-nine postcards of his travel correspondence with his family between 1895 and 1923 reveal his enjoyment of these holidays, his pleasure in his liberty, in getting a bargain, in the blue skies and the southern warmth, in the beauty of the landscape, in wine and food.

Freud on Holiday. Appendix I. Freud’s Weather
Published by information as material, York, 2011
ISBN 978-1-907468-09-4
Edition of 300
Designed by James Brook
20 pages, stapled, 230 x 145 mm
10 euros, plus 1,50 euros for post and packing
Herein in are Freud's descriptions of the weather he experienced while on holiday.

Freud on Holiday. Appendix II. Freud'sDining
Published by information as material, York, 2011
ISBN 978-1-907468-10-0
Edition of 300
Designed by James Brook
20 pages, stapled
230 x 145 mm
10 euros, plus 1,50 euros for post and packing
Herein are Freud's notes and comments on what he eats on holiday, as well as on the state of his digestion.

Freud on Holiday. Appendix III. Freud's Hotels
information as material 2012
ISBN 978-1-907468-13-1
Edition of 200
Designed by James Brook
24 pages, softback, stapled
230 x 145 mm
10 euros, plus 1,50 euros for post and packing
Herein are listed those hotels that may be identified, and if they exist still, including their inviting descriptions, extracted from their promotional material, which may be useful to others travelling in the footsteps of Freud.

Freud on Holiday. Appendix IV. FREUD'S SHOPPING
information as material 2012
ISBN 978-1-907468-14-8
Edition of 200
Designed by James Brook
24 pages, softback, stapled
230 x 145 mm
10 euros, plus 1,50 euros for post and packing
Herein Freud’s notes on his holiday shopping are listed chronologically, accompanied by photographic details of some of the objects he acquired, which are in the collection of the Freud Museum in London.

Un Voyage en mer
A Sea Voyage. 2007/2013
Translated by  Sophie Leclerq
Published by FRAC Bretagne
ISBN 978-2-906127-41-8
Edition of 200
Designed by James Brook
24 pages, softback, stapled
230 x 145 mm
AVAILABLE FROM FRAC Bretagne

A chapter extracted from Kivland’s book A Disturbance of Memory, Freud on Holiday volume II, published by Cube Art Editions and information as material in 2007. Kivland has been slowly taking – and reconstructing Sigmund Freud’s holidays. In this book Kivland, with son and her sister, follow the Freud brothers to Athens, via Trieste, Venice, and Corinth, frequently diverted by the traces of others, including, in this chapter, Odysseus. Three narratives entwine and Ithaca is seen in the distance from the deck of a ship.

Depuis plusieurs années Sharon Kivland a patiemment repris—et reconstitué—les vacances de Sigmund Freud. Dans A Disturbance of Memory, Kivland, son fils et sa soeur, suivent les pas des frères Freud vers Athènes, via Trieste, Venise et Corinthe, fréquemment détournés de leur route par les traces d’autres voyageurs, notamment, dans ce chapitre,
—‘A Sea Voyage’—l’Odyssée. Trois narrations croisées et Ithaque en toile de fond, observé depuis le pont du bateau.

Un chapitre extrait du livre de Sharon Kivland, A Disturbance of Memory, Freud on Holiday volume II (Une perturbation de la mémoire, Freud en vacances tome II), dans le cadre d’Ulysses,l’autre mer, une manifestation organisée par le Frac Bretagne pour le 30e anniversaire des Fonds régionaux d’art contemporain en France.

Reisen. Der Rauch von Dampflokomotiven
A limited edition booklet produced by Sharon Kivland to accompany her work in Resort at Transition Gallery, London
Published by Transition Editions 2013
Edition 009
Numbered and signed by the artist in an edition of 50
ISBN 978-0-9568814-2-7
170 x 120mcm, 16 pages, and a 4-page card cover,
Black & white images throughout, softback, stapled

Only available from Transition Gallery

Le style Louis XVI
DOMOBAAL Editions 2013
Edition of 50, published published at the kind invitation of AM Bruno on the occasion of the 16th International Contemporary Artists' Book Fair, Leeds.
ISBN 987-1-905957-31-6
16 pages
softback, stapled
170 ×105 mm
six duo–tone photographic plates, tipped–in by hand
13,50 euros, plus 1,50 for post and packing


A small catalogue of Louis XVI furniture, which makes a rapport between style and revolution, furniture and its naming, femininity and the neo–classical. The ambience is welcoming, despite its sobriety and a whiff of the Terror.

Sharon Kivland – Reproductions II
DOMOBAAL Editions – 2013
Edition of 100
ISBN 987-1-905957-29-3
13,50 euros plus 1,50 euros for post and packing

A publication in two volumes, bound together to accompany Sharon Kivland's eponymous exhibition, by Jan Campbell and Steve Pile. Dr Jan Campbell is a Reader in English Literature and Psychoanalysis in the Department of English at the University of Birmingham. Jan Campbell has also worked clinically for thirteen years as a psychoanalyst, as well as writing widely on psychoanalysis in relation to feminism, queer theory, autobiography, social and cultural theory, literature, and film. Her most recent book is on the telepathic movement of a maternal form, which she argues is the necessary transferential sublimation of the repressed Freudian Passions: Psychoanalysis, Form and Literature published by Karnac in the Spring of 2013. Professor Steve Pile teaches Geography in the Faculty of Social Sciences at The Open University. He has published on issues concerning place and the politics of identity. He is author of Real Cities: modernity, space and the phantasmagorias of city life (2005) and The Body and The City: psychoanalysis, subjectivity and space (1996). His many collaborative projects include the forthcoming collection, Psychoanalytic Geographies (edited with Paul Kingsbury). He is currently working on early Freudian psychoanalysis and geographies of the body.

 

Encore un effort
Sharon Kivland, 2012
Edition of 100, published at the kind invitation of Noreen Grahame, for the exhibition 'Lessons in History Volume II – Democracy'
Grahame Gallery and Editions, Brisbane, Australia, September–October 2012.
24-pages, black and white illustrations
220 x 150 mm
13,50 euros plus 1,50 euros for post and packing

Cropped images from a set of photographs in the student paper Tribune from May ‘68. The centre pages are a spread of text drawn from fashion magazines of the same period in French history, but including two slogans, one from 1968 and the other from 1789. The booklet is democratically printed in a reprographic unit.

 



Les mouches
DOMOBAAL Editions, 2012
Edition of 100, published at the kind invitation of AM Bruno to their project Black Circle on the occasion of the London Art Book Fair 2012
ISBN 987-1-905979-27-9
24 pages
Softback, stapled
225 ×155 mm
21 b&w photographic illustrations
14 euros, plus 1,50 for post and packing

A beauty spot is usually a lesion caused by a melanocycotic nevus, but at certain times it was considered to be such an attractive feature that it was applied as makeup or as a mouche in velvet or silk.



Les Devises Manquantes/The Missing Slogans
Sharon Kivland 2012
Edition of 10
Softback, stapled
185 ×120 mm
10 black and white photographs

The book includes the slogans of the French Revolutions, from 1789 to 1848 (in the expression of popular sentiments), and some patriotic Mariannes. Produced in response to 'What is to be done?', bookart bookshop, and one of the ten winners of the bookart prize.

OUT OF PRINT

Le rouge baiser
DOMOBAAL Editions – 2011
ISBN 9789059957149
Chapbook with 20 folded pages
Softback, stapled
15×10.5cm
16 b&w photographs
A numbered edition of 100, each with an attractive photograph, on which the artist has more or less carefully painted the lipsticked mouth of the image with watercolours, while considering that while 'le rouge baiser permet le baiser' (the red kiss allows kissing), it also permits caressing, screwing around, adultery and fucking.

Available from DOMOBAAL gallery

REPRODUCTIONS I

Sharon Kivland –13-Part Subscription Package – DOMOBAAL editions 2012

Following the surprising success (the artist was surprised anyway), of her book La mer est si bleue, Domo Baal Editions and Sharon Kivland launched a book project, offered on subscription. This is a series of thirteen books, each in an edition of 100, in a stapled 26×20cm format, with between twelve and twenty-four pages, which draws on Kivland's extensive and particular collection of printed ephemera and postcards, classed thematically according to the whim of the artist (see below). These books are contained in a bespoke slipcase, designed by Book Works studio, London. Due to popular demand, very few sets remain, and these can be ordered from DOMOBAAL.

Titles:
Frères et Sœurs
Communiants et Communiantes
Nus exotiques
Les Chalets suisses
La Neige sur les montagnes
Femmes et roses
Les Chiens des Pyrenées
(a particular favorite. SK)
Les Amants modernes
Les Reflets
Les Cascades
Les Fontaines
Pierrots et Pierrettes
Certains messages de loin

La mer est si bleue
DOMOBAAL editions, 2011
Edition of 100, published at the kind invitation of AM Bruno on the occasion of the London Art Book Fair
ISBN 987-1-905957-11-8
24 pages
stapled
255 x 200 mm
12 black and white photographic illustrations
‘Hello from Stella beach where I am spending a nice holiday, despite the bad weather.
Best wishes,
Marie-Claire’

OUT OF PRINT


 
Freud on Holiday volume III. The Forgetting of a Proper Name
Co-published by Cube Art Editions, Athens, and information as material, York, 2011
Edition of 500
Designed by Christos Lialios
Greek translation by Eleanna Panagou
ISBN 978-960-99662-3-8 (Greece)
ISBN 978-1-907468-06-3 (UK)
56 pages, 2 black and white illustrations and 16 colour illustrations
softback and dust-jacket
230 x 145 mm
12 euros, plus 1,50 euros for post and packing

The third volume in the series Freud on Holiday describes a number of holiday possibilities, the problem of deciding where to go and when, the matters of cost and convenience, of appropriate companions and correct context. There are descriptions of train itineraries, of hotel rooms and restaurant menus, but the name of one restaurant resists recall for most of the book. There is a surprising connection with hysteria and another name is forgotten en route, accompanied by an embarrassing error in chronology. At last, forgotten names are remembered, although an image that has been talked away is not seen again.



Le cri de la soie
domobaal Editions, 2011
ISBN 978-1-905957-08-8
Edition of 100 copies, 11cm x 15cm, 24 pages, colour

Published to accompany the exhibition I am sick of my thoughts
7 euros plus 1,50 euros for post and packing

To the cropped and enlarged photograph, extracted from an underwera trade journal of the 1950s, a strip of colour, that of the scent 'Allure' by Chanel, is added, cropping or extending the image further. Each woman is ecstatic: the touch of silk against her skin is enough to make her faint, to send her into an enclosed jouissance, like those kleptomaniac patients of Dr Gaëtan de Clérambault, for whom the squeaky sound of silk as it was rubbed provoked the most intense sensation.

Le cri de la soie II
domobaal Editions, 2011
ISBN 978-1-905957-09-5
Edition of 100 copies
24 pages, softback, stapled/sewn,
colour cover, b&w
11cm×15cm

Published to follow the exhibition I am sick of my thoughts
7 euros plus 1,50 euros for post and packing

The speech of kleptomaniac women interviewed by Dr Gaëtan de Clérambault in 1902 is entangled with a medical analysis; the resulting text is an insistent and extended cry of fetishism for silk  – an erotic passion, tactile and jouissant. V.B. says that the contact with silk is superior to its sight and that while she would like to sleep in silk, it s not her style; that’s for women who are seen in bed.



Reisen II
Reisen II is the second in a series of occasional pamphlets, which refer to the trains, train journeys, railway–lines, stations, station platforms, railway timetables, ticket collectors, and train compartments in the life and work of Sigmund Freud. This modest booklet contains details of some of the train journeys of Freud's holidays, gleaned from his correspondence home, with reference to contemporary editions of Cook's Continental Time Tables, Tourist's Handbook and Steamship Tables, supplemented by consultation of the European rail timetables of the present day.
information as material, York – 2010
ISBN 97819074680701
Edition of 150
16 pages, softback, stapled binding
2 b & w photographic illustrations
115 x 160 mm


Reisen I
Reisen I is the first is a series of occasional pamphlets, which refer to the trains, train journeys, railway-lines, stations, station platforms, railway timetables, and train compartments in the life and work of Sigmund Freud.

information as material, York, 2010
ISBN 9781907468018
Edition of 150
16 pages, softback, stapled/sewn
2 black and white photographic illustrations
115 x 160 mm

Freud and the Gift of Flowers, with Forbes Morlock
A revised version of a seminar given by Forbes Morlock at the Institute of Germanic and Romance Studies, University of London, in June 2007. There are gardenias (though these lovely flowers are only words), there are letters and postcards, there are presents, and there are lavish illustrations of the flowers Freud did not receive.

information as material, York, 2009
ISBN 978-1-907468-00-1
36 pages
softback, perfect-bound
14 black and white photographs
170 x 100 mm

Afterwards, 2009
A small and attractive book, which accompanies the group exhibition ‘Afterwards’, curated by the artist and writer Sharon Kivland for the Mead Gallery, Warwick Arts Centre. The exhibition explores the concept of Nachträglichkeit, the term employed by Sigmund Freud to describe the phenomena of ‘deferred action’, where impressions, experiences or memory traces gain significance as a result of re-experiencing the event. It is a term that has been translated as ‘belatedness’, ‘subsequently’, ‘après coup’, and ‘afterwardness’. As a psychoanalytic concept, it has been retroactively constructed. Through the work of established and younger artists ordinary objects are recast, rupturing a distinction between object and representation.

Mead Gallery, Warwick Arts Centre, 2009
ISBN 9780902683914
48 pages
softback
24 b&w illustrations
170 x 100 mm
Distributed by Cornerhouse, Manchester

An Agent of the Estate
A revised version of a conference paper given in ‘Defining Space’, at University College Dublin, in October 2007 and published in Haecceity Papers
Psychoanalysis and Space, Volume 4 / issue 1, Fall 2008
Guest Editors: Tim Martin and Lorens Holm

Sharon Kivland has followed Freud from Trieste to Athens, in a vain attempt to reconstruct a moment of melancholy that is not her own, and to re-experience a disturbance of memory that is not hers either. She has haunted the Freud Museums in London and Vienna, more at home on the unhomely stairs, as though in lingering improperly and listening at doors, an alien guest, she might find more than a petrified spectre of psychoanalysis. In An Agent of the Estate she invites the readerto follow her tour of properties, with some detours through stations and board games. Adept in ventriloquism and other uncanny tricks, she offers a buyer’s guide to some of the dwelling-places of psychoanalysis, while reminding the reader that the ego is not master in its own house.
CAVEAT EMPTOR

information as material, York, 2008
ISBN 978-0-9553092-8-1
36 pages
softback
14 black and white photographs
170 x 100 mm



A Disturbance of Memory
Volume II in the series Freud on Holiday, published by information as material, York, and CUBEARTEDITIONS, Athens; introduction by Craig Saper. Greek translation: Maria Skamaga. Designed by Christos Lialios.

Like Sigmund Freud and his brother, Sharon Kivland and her sister go on holiday together each year. In Trieste in 1904 SF and his brother determine to go to Corfu but are told by their host it will be too hot and they should go to Athens instead. Any change of plan seems impractical, but they succeed in booking tickets for Athens. When Freud arrives in Athens and stands on the Acropolis he is surprised to find himself thinking: 'So all this really does exist, just as we learnt at school!' His surprise is twofold; first, that something unbelievable exists, and secondly, that its existence should have been in doubt. In A Disturbance of Memory, SK and her sister, accompanied also by SK’s son, follow the Freud brothers to Trieste and Athens, but are frequently diverted by other traces, including those of James Joyce, Jacques Derrida, Italo Svevo, and Ulysses. There are photographs and drawings of uncertain origin, and descriptions of food, trains, and family romances. The English text is followed by a Greek translation.

information as material, York, and CUBEARTEDITIONS, Athens, 2007
ISBNs:
978-960-87354-9-1 (Greece)
978-0-9553092-3-6 (UK)
186 pages, softback, sewn, with screen printed dust jacket, 230 x 150mm, 35 black and white photographs, 15 black and white illustrations.



L'esprit d'escalier

A revised version of a paper given in ‘Outside/In: architecture, psychoanalysis, and spaces in-between’ at the Freud Museum, London, in June 2006, during ‘Architecture Week (Arts Council of England), the text ostensibly pursues the references to domestic architecture in the dreams of Sigmund Freud as a narrative, while the subtext expresses anxiety, loss, and the revisiting of a subjective past – oh, and the forgetting of a lovely pair of shoes, as the author and Freud miss a collision on the stairs of 19 Bergasse, Vienna. The text is punctuated by a series of black and white photographs, taken on the stairs of the same apartment block, as the author searched for her title, her shoes, and her subject.

information as material, 2007
ISBN 978-095-5309- 4-3
36 pages
softback
14 black and white photographs.
s 170 x 100 mm



Freud Dreams of Rome
volume 1 in the series Freud on Holiday
Freud Dreams of Rome explores the longing for Rome which Freud felt as he worked on his seminal project The Interpretation of Dreams. Freud dreamt of visiting Rome four times before actually getting there. The book creates an uncanny atmosphere, as do the images, allowing the reader to take a dérive through Freud’s imagination. The images - introduced as ‘Freud’s holiday photographs of Rome’ - are rather strange. They show no people. They are oddly cropped. They reveal only impasses, dark courtyards, angles of buildings.

information as material, York, 2006
ISBN 0- 9553092- 0- 4
32 pages
softback
11 b&w photographs, tipped-in by hand.
230 x 145 mm
Distributed by Cornerhouse, Manchester
VERY FEW REMAINING

La forme-valeur
DOMOBAAL Editions, 2006
ISBN 0 9544590 6 7
20 pages plus four-page printed cover, stapled/sewn
150 x 213 mm
7 euros plus 1,50 euros for post and packing

La forme-valeur is a sixteen-page book, following the exhibition of the same title at Galerie de Cloître, Rennes in 2005. The commodity, from chapter 3 of Capital by Karl Marx, in both French and English translations, finds a voice as a woman, on a Chanel-pink ground. The edge of the cover is gilded, recalling the packaging of 'Allure'. Very few remaining.

Cela aura déjà eu lieu
2005

Cela aura déjà eu lieu is a twenty-page full colour book, published after the exhibition of the same name at the Centre d’art de Morsang, France. As the texts indicate, the project was founded on the Freudian concept of Nachträglichkeit or deferred action. The first part of the work was an invitation, the second an event and viewing, the third, a postcard, and the last, the publication, where all the texts in circulation and the postcard are reproduced. Cela aura déjà eu lieu - full text as a pdf file.

OUT OF PRINT

Here Are My Instructions, 2004

Edited by Redell Olsen and Susan Johanknecht, this book is published in response to the ‘writing instructions/reading walls’ project, curated by the editors.
London: Gefn Press 2004.
See Text Works for a pdf of Rose-water.


flair
DOMOBAAL Editions, 2004
ISBN 0 9544590 3 2
12 pages, plus printed cover, stapled
100 x 160 mm
6 euros plus 1,50 euros for post and packing

 

 

Twelve phrases run in a continuous line through the book. The phrases are in a pale rose/flesh pink – actually the colour of Chanel’s packaging for their scent ‘Allure’ – and are descriptions of scents taken from the in-flight magazines distributed on airlines. Each has been altered every slightly so rather than describing a scent, they appear to be a woman describing herself– a vain, crazy woman, ‘folle de son corps’. The title has two meaning: in English, it means the possession of a certain style or aplomb, while in French, it more usually means the faculty of discerning an odour or an aptitude for intuition or perspicacity. published on the occasion of the project of the same title at the Bartlett School of Architecture, University College, London.Very few copies remaining.

The Property of a Gentleman
Hastings Museum & Art Gallery 2003
ISBN 0 9518262 2 0
56 pages, softback
210 x 150 mm
6 euros, plus 1,50 euros for post and packing

The Property of a Gentleman was part of the touring exhibition ‘Nature and Nation: Vaster than Empires’, curated by Eggebert-and-Gould, which brought together artists from Australia, France, India, Indonesia, the Netherlands, New Zealand, and Britain, and examined contested territories – geographical and symbolic, place and landscape, garden and wilderness, culture and horticulture.The Property of a Gentleman is an edited version of the Naturalist’s Journal of William Markwick, covering the period from 1768 to 1776, bequeathed to Hastings Museum and Art Gallery in 1922. The Editor, Sharon Kivland, has transcribed three years of the diaries, painstakingly writing them out by hand at the Curator’s desk, for the pages are too fragile to be copied otherwise. Then returning home to the French countryside, she has produced a version working from her manuscript. She has glanced from time to time at her garden and has observed the Narcissus in bloom, the Chinese Honeysuckle first in bud, the Broad Bean first emerging from the ground, and heard the Woodpecker make a loud noise. She, too, is a woman of property.


Le bonheur des femmes (the scent of a woman)
2002

A publication accompanying the exhibition of the same name.
See Exhibition page for details.
See Filigranes Editions catalogue.

 

OUT OF PRINT

Fragments d'une correspondance litteraire
2001

Limited edition artist's book and print portfolio, Book Works, London.
See Multiples page.

Memoirs
2001

Four booklets in a slipcase, produced as part of 'Making History', a county-wide visual arts project, Staffordshire University.

 

OUT OF PRINT

See Critical Writings.

In the Place of an Object
2000

Co-editor, with Marc Du Ry, of autumn double issue of JCFAR, Journal of the Centre for Freudian Analysis and Research, publishing date September 2000, CFAR. Grant from London Arts Board.

OUT OF PRINT

A Case of Hysteria
1999

A Case of Hysteria draws on Freud's analysis of Dora, a young woman who is brought to him by her father. Dora is suffering from repeated loss of voice and a nervous cough. Sharon Kivland has created a mystery novel about Dora, which investigates the events discussed in her analysis as clues to the unlocking of a story of love and betrayal. The book is a critical study which rewrites one of the key texts in psychoanalysis. A Case of Hysteria reveals an illuminating picture of Dora. The writer-turned detective traces the events recounted in the analysis, following the story to Vienna, Meran and Frazenbad.


A Case of Hysteria is edited by Forbes Morlock.
It is printed offset in an edition of 1,500 copies, 321 pages, with duotone images throughout, soft-back with printed dust jacket, 230 x 174mm.
ISBN 1870699 254, price £22.50

Book Works, London


Sinthome
1998

A theoretical series of poisonous plants to add to victims’ drinks.
Produced as part of a commissioned exhibition and conference ‘Evil’
at Southampton University, May 1998.
Out of print.
Edition of 500, John Hansard Gallery, Southampton, UK

OUT OF PRINT


1998
Les Passages Couverts, Editions Sixtus, Limoges (out of print)
The School for Lovers, Site Gallery, Sheffield
Body and Photography, Prague House of Photography
Ni l'appetit de satisfaction, ni la demande de l'amour, TPW, Toronto, cream business card printed with pink text on each face

1997
Fascinum, with Shelagh Wakely and Michelle Naismith, London
Des Femmes et de la Propriété, Editions Filigrane, France (out of print)

1996
Clio, limited edition multiple, Serpens Foundation, Prague
Mes Tendresses, limited edition multiple, Book Works

1995
La Passante, Desiring Practices, RIBA, London (out of print)
Le Double, co-editor with Anne Giffon, CAPC de St.Fons,
conference papers

1994
J'appelle un chat un chat
, limited edition artist's book, Book Works, London
Hôtel des Voyageurs, ODDC, Bretagne

1991
Reading the Glass; Management of the Eyes, Moderation of the Gaze
, with Conrad Leyser, Charles Barber, Book Works, London (out of print)

1988
Fragments of False Houses, Pomeroy Gallery, London (out of print)
Monumental Works, with Ian Walker, London

1979
Sharon Kivland, About Seventy Photographs, Bill Messer and Chris Steele-Perkins (eds), Arts Council of Great Britain