A boxed edition containing a selection of reproductions of, and writings about, the work of Pierre Molinier.

First published in a limited edition, in 1993, by Cabinet, UK. Edited by Martin McGowan and Andrew Wheatley; texts by various contributors; blind embossed cloth bound box containing: A3 poster/broadsheet, B&W, double-sidedand; A6 postcard– B&W, double-sided; A4 text pages– various coloured stock.

Design by SecMoCo, produced along with the founders of Cabinet.

Edition, publicity material







SecMoCo worked on various design elements for the aesthetic and intellectual powerhouse that is Cabinet on many of their early projects and exhibitions. Here is a selection of publicity material for various artists, and an edition (Pierre Molinier), from that period.

For more on this site on orphan drift and Pierre Molinier go to:

O[RPHAN] D[RIFT>]:Cyberpositive


First edition published in 1995 by O[rphan] D[rift>]/Cabinet Editions (with support from Nick Land), on the occasion of the exhibition/installation at Cabinet, Brixton, London, in 1995.

Edited by Maggie Roberts; 448pp; 130×200 mm; 1x B&W image; 2-colour soft cover;
ISBN 0-952-58240-6; Anti copyright.

Design: O[rphan] D[rift>]/Secondary Modern (SecMoCo as was).

. Asked– Alec Dippie, Fred Evans, Simon Josebury, Suzanne Karakashian, Tom Louichon, Nick Land, Suhail Malik, Rob Maze, Ranu Mukherjee, Dan O’Hara, Sadie Plant, Maggie Roberts, Kurt Vildgren.
. Unasked– J.G Ballard, Georges Bataille, Greg Bear, Hakim Bey, Kathryn Bigelow, William Burroughs, Pat Cadigan, Mike Davies, Manual DeLanda, Maya Deren, Giles Deleuze, Marguerite Duras, Philip K. Dick, Mark Downham, William Gibson, Felix Guattari, Stanislau Lem, Jean-Francois Lyotard, Mike McGuire (juno reactor), Mute Magazine, Thomas Pynchon, Anne Rice, Serge (total eclipse), Stelarc, Neil Stephenson, Tsuyoshi Suzuki (prana), Unnatural Publications.

Having worked on the design for many of the Cabinet projects since its early formation, SecMoCo was pleased to have the opportunity to design, layout and produce– along with with Maggie Roberts, Suzanne Karakashian and Ranu Mukherjee– what has proven to be a highly prescient publication. Published in the same year as the hyper-stimulation of the second Virtual Futures conference (May 25–28, University of Warwick) it can be seen as an indicative marker of the creative and intellectual work going on in that particular historical moment – to theorise the political and cultural implications of the very dawning of a highly networked global information system and the human–digital relationship within it.

The publication has been subsequently reprinted by Cabinet. Here, below, is the information on this from the Cabinet website, where you can buy copies of the reprint and you can also find images of the exhibition/installation in 1995.

‘0(rphan)d(rift>) cyberpositive is an experimental sci fi novel, collectively authored by a group of asked and unasked contributors and edited by OD’s Maggie Roberts. It was published in 1995 with support from Nick Land and Cabinet Editions, serving as our manifesto and as the catalogue for the debut exhibition of the same name. It came together in the spirit of much of our visual work, bringing together processes of sampling and looping as well as the Burroughs cut up technique, referring to a breakdown and reordering of language from a post apocalyptic POV.’

0(rphan)d(rift>) cyberpositive
448pp. 13 x 20 cm
Published by Cabinet Editions / Openmute
Reissue 2012 and 2015
ISBN 13: 9781906496807
£15.00 (2019 reissue)
For orders please email art@cabinetltd.demon.co.uk

Steven Claydon, Firstsite

Culpable Earth is a monograph on the work of British artist Steven Claydon and was published to accompany the exhibition of the same name at firstsite, Colchester, UK (4 February – 7 May 2012). It features over 300 illustrations and previously unpublished texts about and by the artist, alongside an extended interview between Claydon and Martin Clark, Artistic Director, Tate St Ives.

The first major solo exhibition by Claydon in a UK public gallery was organised here by the acutely discerning Michelle Cotton, Senior Curator at firstsite. SecMoCo worked closely with her and the artist in the process of designing the accompanying publication, gaining a valuable insight into Claydon’s interests and preoccupations. The work draws on, engages with, and employs a huge historical resource of art, literature, design, politics and theory (for example, he is perhaps the only contemporary British artist investigating and drawing from the texts of the Pre-Socratic philosophers). From the outset Claydon’s intention was to adopt the layout and style of a particular 1960′s Italian architectural journal, (one that used the formal discipline of the then popular ‘Neue Grafik’ or ‘Swiss’ style of design), the task then was to ‘pour into’ that template documentation of his work to date, plus a generous selection from his wide-ranging research, and an illustrated and indexical chronology.

First edition published by firstsite March 2012 in an edition of 1,500 copies; edited by Michelle Cotton; texts: Martin Clark, Steven Claydon, Michelle Cotton and Patrizia Dander; 242 x 212mm; 144pp thread sewn; 260 colour and 45 b&w images; 2-colour softback cover, plus 1x metallic printing

Context from Michelle Cotton: ‘Over the last decade Steven Claydon’s sculpture, print, painting, film and performance have been worrying away at the taxonomies and values integral to the Western canon. His exhibitions with their hessian grounds, stacked pedestals, frames within frames, portrait busts and eccentric artifacts both emulate and debunk the nature of the museum’.

And from the firstsite website: ‘Claydon describes his work as being concerned with the ‘passage of materials’, namely, how materials journey from raw matter into cultural artefact. In doing so, he raises questions about the value of everyday objects. The artist sees objects as being ‘culpable’, in the sense that they reveal something about society at large. However small his starting point, a mass of atoms or a grouping of coloured pixels, Claydon combines materials and concepts in endlessly complex structures.

Claydon’s sculptures often present highly crafted objects in bespoke structures that visually reference museum displays. He brings together objects recalling historical artefacts – such as portrait busts, pots and vessels – cultural ephemera and geological samples, skilfully mixing different cultures and periods of history. Ancient technologies are combined with modern, electronic equipment and traditional craft skills are presented in digital video installations. Through these combinations, Claydon creates new, hybrid objects.

Merging reality with fiction, and appearing at once meaningful and useless, Claydon’s works oscillate between an idea of truth and fantasy, seeming to offer a fragmented image of a future civilisation’s past’.

Forster & Heighes

Alan Read, the director of Performance Foundation, Kings College, invited Ewan Forster and Christopher Heighes to investigate the myriad buildings and spaces of the University. This intriguing and engaging duo together create – through a painstaking, determined process of enquiry – highly incisive and revealing performative responses to architectural sites, very often focusing on the overlooked or neglected areas and histories of the buildings, spaces and archives. SecMoCo were asked to design the logotype and publication to accompany the installation within the university exhibition rooms, entitled Plant Science: the disposal of 68 Half Moon Lane. This documented the ‘de-commissioning’ of one of the colleges’ sites in West London, taking the form, and using the language of, auction catalogues.

First edition published by Performance Foundation, London, UK; 24pp, 230 x 165mm; full colour throughout

Context from the Forster and Heighes website: ‘Plant Science is a meditation on the apparatus of study and learning; an exploration of the performative qualities of the lab bench and workstation as sites of intense scrutiny and discovery and devices for pedagogical exchange and experiment. Glasshouse, green-board, test bench, workstation, fume cupboard, propagation bed, specimen cabinet and fire door – a building distilled to its essential elements, clarified, separated and reconstituted in the neoclassical environment of Somerset House’.

British Council

Mike Nelson represented Britain at the 54th Venice Biennale in 2011, this edition was published to accompany his installation in the British Pavillion that year. Commissioned by the percipient Richard Riley, SecMoCo were asked to work with the artist for the second time (see Triple Bluff Canyon, Modern Art Oxford) on devising a publication appropriate to his work.

First published, in an edition of 1,500 copies, by The British Council, London, UK, June 1, 2011; commissioning editor: Richard Riley; coordinating editors: Gemma Latty, Emma Williams; texts: Dan Cameron, with an interview between the artist, Rachael Withers and guests.

135 x 205mm; 146pp; 92 images, including 18pp colour plate section with 74 b&w images in uncoated section; casebound with 1-colour embossed cover (no dust jacket); grey endpapers; 4 colour printed ‘inner covers’; thread sewn; printed by CPI, UK.

Context from the British Council website:
Throughout his career, Nelson has constantly returned to and re-examined territories within his own practice. […] For the British Pavilion in 2011, Nelson elected to take as his starting point another of his own key works from the past decade, Magazin: Büyük Valide Han, originally built for the 8th International Istanbul Biennial in 2003. […] Nelson has referred to the work for Istanbul as being a parasitical installation that had lodged itself into a 17th century building. Based on the photographic memory of the earlier work, with I, Impostor, Nelson not only rebuilt the original darkroom but sections of the caravanserai itself, so that now a building, from another time and place, exists inside the late 19th century British Pavilion in Venice.

The British Council published a fully illustrated book to commemorate Mike Nelson’s exhibition, which includes newly commissioned texts by Dan Cameron and Rachel Withers, and colour plates of the new work in progress.

Inventory, Book Works

SecMoCo were invited by the magnanimous Mattew Higgs, via the excellent publishers Book Works, to help design and produce Smash This Puny Existence with the artfully subversive collective known as Inventory. This resulted in the publication taking the form of broadsheet posters– large format, double-sided sheets housed within long cardboard tubes.

First published by Book Works 1999 in an edition of 1,500 copies; edited by Matthew Higgs as part of the series Publish And Be Damned; 6 x b&w double-sided sheets, 678 x 478 mm, rolled and housed in a cardboard tube

Context from the Book Works website:
Smash This Puny Existence emerged from street actions staged by Inventory in streets in London and Glasgow. Overnight, the collective fly-posted a series of newly-commissioned texts and images along with ‘found’ material, transforming two busy thoroughfares into public ‘newspapers’. The street became a discursive, polemical space, a place for the exchange of ideas and information. […] It is a significant contribution to Inventory’s ongoing determination of a ‘fierce sociology’.


Fiona Banner

‘It has been described as unreadable’. Remember telephone directories? This is a huge, 1000 page, 280,000 word compilation of textual descriptions of films concerned with the Vietnam War.

‘…..read at a stretch, Banner’s simple, clear prose is hypnotic, and as exhausting as sitting through a Vietnam all-nighter. The text cascades in front of our eyes, melding and merging, and we read Banner’s commentary as she’s watching…’ Adrian Searle, Visual Arts, The Guardian, 22 April 1997.

Published in an edition of 1000 by Frith Street Books and The Vanity Press with assistance from the Arts Council of England, 1997

280 x 208mm (280 x 213mm hardback); 1000 pages; 1-colour (black) no images; paperback- thread sewn, cover cut flush; hardback- thread sewn with printed paper case (no dust jacket)


Jake & Dinos Chapman

For their first major U.S. exhibition (‘Six Feet Under’ Gagosian Gallery, New York, USA, September 13-October 11, 1997) Jake and Dinos Chapman asked SecMoCo to design the accompanying publication. More than a catalogue, it was seen as a stand alone edition developing the themes and concerns of the work, as such the design took a blasphemous turn, adopting the form of the helpful reading material you could once find in the drawer of any hotel room bedside cabinet.

First published by Gagosian Gallery, US, 1997; edited, and with a text by Jake and Dinos Chapman; 215x164mm; 152pp; thread sewn; 48 color illustrations; gilt edges; brown faux-leather covers in plastic jacket, gold embossing. Print: Jim Pennington for Lithosphere, London

Context from Amazon:
Best Sellers Rank: #4,107,057 in Books (See Top 100 in Books)
Most Helpful Customer Reviews
By Antonio A. Urdiales on December 30, 2005
‘Once again Jake and Dinos Chapman take us on a trip through the absurd. This book has a very thin narrative running through it. If you’re looking for fiction by two of the most vile of Britain’s artworld, you’ve come to the wrong place, LEAVE NOW!

The books is a series of vingettes detailing gruesome monstrosities in the style of J.G. Ballard. I’m sure there was a plot in there somewhere, but the chapters were so short (think two to three a page) and fragmented that I lost it. Mostly it just read like details from an apocalyptic surgical guide. Which isn’t for everybody. But if you enjoy exploding brains and monstrous genitalia, LA TEE DA! The written word was fun if not tiring. But the real beauty of the book is in the plates of the boys sculptures. The sculptural work of the Chapman brothers is grotesque divinity, detailing mutated children from a land in which all normal notions of beauty have been subverted. And the colored plates dispersed throughout the writings were excellent examples of their sculptural works and just truly a joy to look at. The book is also gilt edged with a beautifully embossed cover, it’s also a very tiny book which makes one desire to carry it around as a horrifying talisman of the new age. This book is a VERY rare artbook as well, created by the Gagosian Gallery in New York. An edition of this book costs about $100 to thousands for signed copies. I would highly recommend picking up an edition up if you’re a collector of YBA artworks or the Chapman brothers, I wouldn’t doubt that the price will skyrocket in coming years.’


Mike Nelson

Commissioned by the elegantly exacting Suzanne Cotter, this book was published to accompany the exhibition by 2004 Turner Prize nominee Mike Nelson at Modern Art Oxford.

The front cover utilised an Arts Magazine cover from May 1978 depicting a seminal work by Robert Smithson that the artist had recreated in the gallery at MAO. As such, the title and cover information was transferred to the reverse, adopting the typographic style of the gallery ads of that period.

First published, in an edition of 1000 copies, by Museum of Modern Art, Oxford, UK, 01 January 1999; edited by Suzanne Cotter; texts: Jeremy Millar and Brian Aldiss; 210x170mm; 72pp; 58 images, including 8pp colour plate section, 50 b&w image in uncoated section; paperback with 4-colour cover thread sewn; printed by Art Quarters, UK.

Context, from Andrew Mead at the Architect’s Journal website:
‘Entering a Mike Nelson installation is like stumbling into a minicab office in the early hours of the morning in the wrong part of a town you don’t know – and then things get worse’