Pretty Much Every Film and Video Work from about 1992 until Now...
Text by Francesco Stocchi.
Three decades of Gordon’s filmic works compiled in an ongoing archival project
A kind of living catalogue raisonné, this volume charts an ongoing installation project by Scottish multimedia artist Douglas Gordon (born 1966). In 1998, Gordon exhibited, through a heterogeneous cluster of monitors, most of the film and video works he had created in the prior six years. Gordon conceived of the exhibition as the first presentation of an open and unstable archival project—an audiovisual self-portrait that evolves over time, updating itself with each subsequent installation. This volume, published nearly 30 years after that initial exhibition, compiles—as the title makes explicit—most of Gordon’s works from 1992 onward. Each work is allotted a two-page spread that resembles the front and back of a postcard: a full-bleed shot from the film on the right and its title and summary on the left. The book melds autobiography, the history of the moving image and reflections on cultural memory.
STATUS: Forthcoming | 7/28/2026
This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com
FORMAT: Pbk, 6.75 x 4.5 in. / 248 pgs / 115 color. LIST PRICE: U.S. $30.00 LIST PRICE: CANADA $42 ISBN: 9788836663248 PUBLISHER: Silvana Editoriale AVAILABLE: 7/28/2026 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Forthcoming AVAILABILITY: Awaiting stock TERRITORY: NA LA ASIA AU/NZ AFR ME
Douglas Gordon Pretty Much Every Film and Video Work from about 1992 until Now...
Published by Silvana Editoriale. Text by Francesco Stocchi.
Three decades of Gordon’s filmic works compiled in an ongoing archival project
A kind of living catalogue raisonné, this volume charts an ongoing installation project by Scottish multimedia artist Douglas Gordon (born 1966). In 1998, Gordon exhibited, through a heterogeneous cluster of monitors, most of the film and video works he had created in the prior six years. Gordon conceived of the exhibition as the first presentation of an open and unstable archival project—an audiovisual self-portrait that evolves over time, updating itself with each subsequent installation.
This volume, published nearly 30 years after that initial exhibition, compiles—as the title makes explicit—most of Gordon’s works from 1992 onward. Each work is allotted a two-page spread that resembles the front and back of a postcard: a full-bleed shot from the film on the right and its title and summary on the left. The book melds autobiography, the history of the moving image and reflections on cultural memory.
