Tacita Dean trained as a painter and now works in a variety of media. She is best known for her compelling 16mm films, in which the specific qualities associated with film-making are of central importance. Dean's films are haunted by architectural relics which seem to embody outmoded or bankrupt beliefs, but at their time of execution promised much. In their formal qualities, her films reference other art forms, painting especially. Dean also works with video, sound, drawings and objects. Her work occupies a place between fact and fiction. It is pervaded by a sense of elusiveness, a search for something that exists as much in the imagination as anywhere else.

Tacita Dean was nominated for the Turner Prize in 1998. She has recently had solo exhibitions at ARC, Paris and de Pont, Tilburg. Her work is included in this year's Venice Biennale. She has recently curated the group exhibition 'An Aside' which can be seen later this year at Glynn Vivian Gallery, Swansea. She has been specially commissioned to create a new work for Cork 2005 as part of the city's celebration of its status as European City of culture. Dean is represented in many international public and private collections including the Museum Winterthur, Zurich; Tate Modern, London; Fundacio La Caixa, Barcelona; Arts Council of Great Britain, Musee d'art Moderne de la Ville de Paris, Paris, the Hirschhorn Museum, Washington, and the Museum of Modern Art, New York.

Book One: Selected Writings is an illustrated collection of all the artist’s texts written around her films and other projects, from 1992 to 2003.

Book Two: 12.10.02–21.12.02 is a reprint of the artist’s book made in relation to her show at the Kunstverein für die Rheinlande und Westfalen in October 2002. The title of the book is the exhibition dates, which in turn relate to the discovery and filming of Marcel Broodthaers’ studio, his ‘Section Cinema’, in Düsseldorf and the works that were inspired by this.

Book Three: W. G. Sebald is a hommage to the German writer who was killed in a car accident in 2001. It takes its starting point from a reference in his book, The Rings of Saturn, which has a direct family connection to the artist. It then weaves a meandering narrative between history and autobiography, England and Germany, and ends up, strangely enough, in Texas.

Book Four: The Russian Ending shows a set of twenty photogravures made by the artist in 2001. Using found postcards showing tragedies, she made them into fictional sad endings to films, borrowing from the early days of the Danish Film Industry that necessitated making two endings: a happy one for the American audience and a sad one for the Russians.

Book Five: Boots is a soliloquy presented in three languages: English, French and German. Each version is a different fiction of the movement and musings of the character, Boots, in a villa in Portugal. The book has the appearance of a film script, but is in fact a transcription of the action in a film with the same name.

Book Six: Complete Works and Filmography, 1991–2003 is a comprehensive illustrated list of all the exhibited films, projects and related works.

Book Seven: Essays includes texts by Julia Garimorth, Rita Kersting, Jean-Luc Nancy and Michael Newman with a foreword by Laurence Bossé, Senior Curator at ARC/Museé d’Art Moderne de la Ville de Paris.