For the last two decades, Josephine Meckseper’s practice has interrogated politics, capitalism, and art history through the juxtapositions of images and objects. Drawn from the visual and material cultures of protest and political activism, advertising, cinema, and early twentieth-century display architecture, Meckseper’s works are visually confrontational yet subtle, relying on strategies of infiltration rather than explicit positions.

Central to the body of work featured in 10 minutes after is an investigation of the object as a form of “analogue recording device,” in which found materials document temporal environments or situations. Wall vitrines, shelves, denim assemblages, and abstract sculptures composed of industrial display racks become repositories of social, cultural, political, and economic significance. The window frame becomes a vehicle to convey a perspective of the world inside and outside the studio. Accumulated objects and ephemera, recycled studio materials, items salvaged from the street or obtained from now-extinct local stores are reconceived within a new series of window vitrines.

The publication features installation views from Meckseper’s recent exhibition at Timothy Taylor, a gallery of “psychoimages,” and two newly commissioned texts. Independent curator and writer Piper Marshall considers ideas of détournement, the readymade, and base materialism in Meckseper’s oeuvre, while writer and editor Domenick Ammirati explores the significance of painting and text within Meckseper’s installations.