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Jill Winder

@winderjill

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words, art, textures, skies, landscapes, flashes // making books (and sometimes websites) on contemporary art and ways of thinking about it

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So honored and excited to share this news! @xartistsbooks

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X Artists’ Books is pleased to announce Jill Winder as Editor-in-Chief.

Winder is a US-born writer and editor with a background in political theory and curatorial studies whose practice in publishing contemporary art spans the fields of print and online. Based in Berlin since the early 2000s, she brings over twenty years of experience as an editor of diverse artists’ books, exhibition catalogs, critical readers, monographs, and other print publications as well as online platforms and publications. Most recently, Winder was an editor in Publication Practices at Haus der Kulturen der Welt (HWK), Berlin.

Winder will work closely with Alexandra Grant, XAB’s Publisher; Nicole Hervás Ibañez, XAB’s Senior Editor and Distribution Manager; and Darlin Muy, Publishing Assistant.

“After nine years and over thirty books as an artist-driven editorial project, I couldn’t be more delighted to invite Jill Winder to lead the X Artists’ Books team,” stated Grant, who is pivoting from day-to-day work at the publishing house. “We remain dedicated to our artists and collaborators and putting their voices at the center of every publication, and look forward to working closely with Jill to expand our impact.” Winder added, “I see the work of X Artists’ Books as an example of ‘publishing’ at its most expansive: an artistic and intellectual project of world-making, book by book. I could not be more honored to join the team and continue to build upon its vision.”

X Artists’ Books was established in 2017 in Los Angeles by Grant and Keanu Reeves and focuses on artist-driven publications, collaborations, interdisciplinary practices, and recently, literature and artists’ writings in translation. X Artists’ Books has released a diverse range of publications spanning exhibition catalogs, artists’ books, monographs, literary translations, and objects. With nearly thirty titles in print and another dozen in the pipeline, XAB is uniquely committed to publishing beautiful books that place artists and artistic vision at the center of each iteration in print.
Photo: Cindy Ruch. by @winderjill

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3 months ago

Mexico, no words: 48 whirlwind hours in the capital; shrimp taco sublime; 10,000 years of history in 2 hours; and 2 1/2 excellent mezcal margaritas. Tepoztlán: 10 days in a quantum time warp; a first time that felt like a return; a valley facing a mountain, which always feels like home to me; planetary line up on a dark night; a few new friends with superpowers; dinner w/one of the five faces of Shiva and his soldiers; the gift of the sun on my skin in January. by @winderjill

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2 years ago

Fourth trip to California in eighteen months: unexpected fires; one particular wave in the Pacific licking at my feet like an open hand; my LA Trifecta (you know who you are); hours driving on empty roads; at the shack with my brother; and three sunrises in the desert in winter—one of my versions of bliss. by @winderjill

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2 years ago

dears, I’m off to chase the sun: LA>Santa Ana>Anza-Borrego>Mexico City>Tepoztlán. Leaving you with Robert Smithson’s third-and-final •Upside Down Tree• (1969), which he made and left in the Yucatán, where he was working on his mirror displacements. See you in February. by @winderjill

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2 years ago

Thinking of friends in LA, with a snippet of a poem by @khqvst, written there last year. by @winderjill

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2 years ago

August is currently reading his first Ursula K. Le Guin books, and a few nights ago I was next to him, reading Philip K. Dick‘s •HOW TO BUILD A UNIVERSE THAT DOESN‘T FALL APART TWO DAYS LATER•. Because it‘s an @_isolarii_ edition, he was intrigued and delighted by its teeny tininess and wanted to know more. I told him that Dick had also been a renowned sci fi writer, but also that I had discovered a few pages in that Dick had lived in Santa Ana, and done some quite amazing writing on the strange vortex that is Disneyland. That August and I had stayed in Santa Ana—and I had taken him to Disneyland—this summer, piqued his interest, so he asked me to read to him. This book is all about how reality is created by language and our sense of the relationship between time and experience. The passage I happened to be on wrapped up thus: “Because when time ends, the birds and hippos and lions and deer at Disneyland will too no longer be simulations, and, for the first time, a real bird will sing.“ At that, August was essentially hooked, put his Le Guin aside, and insisted that I start over and read the whole thing to him. It pushed bedtime on a school night, but I think the intrigue in his eyes would have pleased both Ursula and Philip. He was still parsing the next morning on the walk to school, in particular Dick‘s recounting of having scenes he‘d written years before in his books play out in his own life and what seemed like a remarkable channeling of parts of the Book of Acts, which he again realized ex post facto. I‘ll take a blurry morning school run conversation on parallel timelines and the nature of consciousness over Minecraft any day. by @winderjill

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2 years ago

When I heard about this collaboration I was skeptical. Shame on me. It is beautiful. There are many fragments that will stay with me, but this is the one I love the most: “…that he, for the curl of a moment, as if raising a finger, would pause as if for breath. That I am one of the elect, privileged forever to be a comma.“ by @winderjill

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2 years ago

The brilliant Sezgin Boynik of Rab-Rab Press has published six volumes (so far) of his bie bao series, bringing into the world translations of the rangy, visionary, syncretic writings of Ilya Zdanevich (Ilizad) in English (some the first in over 100 years). Zdanevich was born in 1894 in Tbilisi, a life-long militant who warred with words—through zaum poetry, typography, writings in many genres, theory, and many other pursuits. You should read them all, but in volume 5 •PhiloSophia (Istanbul 1921)•, don’t miss the brilliant text •The Paradoxesfriend• by Nikolay Karabinovych (@karabinovych.jpg), whose reflections on the persistence of Russian imperialism are echoed in current events in Georgia right now. Ilizad stands in a long line of Georgian revolutionaries and thinkers, and I am thinking of my friends in Tbilisi and elsewhere in the country as they protest and draw strength from this history. ✊🏻 by @winderjill

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2 years ago

Those of you who know me well know how much this means to me. by @winderjill

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2 years ago

New treasure, carried from Utah: beautiful postcard produced for Nancy Holt showing directions from Salt Lake City, where I grew up, to her 1976 work •Sun Tunnels• in Utah’s Great Basin Desert. Sourced from the bookshop of the wonderful @holtsmithsonfoundation. by @winderjill

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No matter how many Venice-Biennale-related sirens call, I always make time for a quiet hour at @fondazionequerinistampalia. Carlo Scarpa’s garden—beautiful in every season—is like an outdoor chapel. The famous gates, defiantly open to the canal, are still my favorite, but I love how every time I visit, I notice some subtle Scarpa detail I somehow never had eyes for before. Nourishing and serene and thoughtful and gorgeous, as more contemporary art could do with aspiring to. by @winderjill

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2 years ago

The 300-year-old Alte Garnisonfriedhof is the oldest military cemetery in Berlin, a stone’s throw from my flat in Mitte. There are some unbroken continuities in German history: Prussian militarism is one of them, and it’s all here. Let’s work backwards and forwards. There are mass graves of civilian victims of the brutal street fighting in the last months of WWII in 1945 (1–3). And lots of “von”-s: General Ferdinand Wolf von Stülpnagel, of the Prussian Order of the Black Eagle (4); Ernst von Bornstedt, 1915 in Galicia (5); Lieutenant Curt Kruge, who “died a hero’s death with a saber in his fist” in 1914 in Poland (6); General Major Erich von Pochhammer, who died in Verdun in 1914 (7). Nazi Generals are also here, like Eberhard Ritter und Edler von Oetinger (8), who met his end in Feb. 1945 in Budapest. Moving backwards and forwards, there are also the late-19th-century iron crosses of the von Buddenbrocks (9), behind them a new condo and the last remaining squat in Mitte. Today is the “Tag der Deutschen Einheit,” but please don’t call it “reunification” day. “Reunification” suggests the restoration of an unbroken historical continuum that sublimates both National Socialism and the German Democratic Republic, a fantasy embodied in the monstrous Humboldt Forum. In 1963, the right-wing Springer Press started publishing GDR in scare quotes, pejoratively suggesting that it was neither “German” nor “democratic” nor a “republic,” but a Soviet puppet state that gladly wore totalitarian garb. The irony is clear, as the post-1945 Federal Republic of Germany was of course made up of a ruling class with “reformed” Nazi pasts. The historical detail that the Springer press quietly removed the quotes around GDR sometime in summer 1989, which I recently read in Jenny Erpenbeck’s •Kairos•, landed like a bomb for me and fascinates me as an editor. This shift suggests both that the change that was coming was seen on the horizon, but also, devastatingly, that it was understood as an inevitable and righteous subsuming of a wayward, lost part. It was not. by @winderjill

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