A selection of multimedia works by acclaimed Indian postminimalist Sheela Gowda The installations and works on paper of Sheela Gowda (born 1957) present cultural ties to India through material—hair, cow dung, incense, natural pigments—and process, through ritualistic references to labor. Remains presents Gowda’s watercolors, prints and installations since 1992. ↑ ↓ ↓

Morceaux choisis is the first seminal overview of Saâdane Afif’s artistic practices. The publication features 48 exhibitions or performances organized in 28 separate sections, covering a period of 14 years. Starting with Melancholic Beat at Museum Folkwang, Essen in 2004 and leading up to the recent exhibition Musiques pour tuyauterie, at mor charpentier, Paris in 2018, the monograph considers the format of the exhibition as Saâdane Afif’s medium, through which his work takes form and can be read. Each one of the figuring exhibitions form an individual booklet: the pages with full color reproductions of the individual works and installation views are inserted within four additional pages providing the exhibition’s title, description, details and captions. These 28 booklets form the body of the publication. The exhibition texts have been written by Lily Matras and Yasmine d’O. They are accompanied by an interview of Saâdane Afif by Lili Reynaud-Dewar, two critical texts by Zoë Gray and Jörn Schafaff, an index of the exhibited works and an index of Afif ’s released books and records. ↑ ↓ ↓

Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving image works, and their accompanying installations. Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories. Through the staging of these encounters on film, van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions. The publication is generously illustrated and brings together a wealth of texts by artists, curators, and writers who have been key interlocutors with van Oldenborgh, and who each offer in-depth observations and reflections on a work from her oeuvre. These authors include Nana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, and Grant Watson. Amateur is published in conjunction with the Heineken Prize for Art, which van Oldenborgh received in 2014 and is supported by the Mondriaan Fund. Copublished with If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, and The Showroom ↑ ↓ ↓

The positions adopted by Hito Steyerl in her works and texts are of key importance in any consideration of the contemporary role that art and the museum play in society. They are also crucial to experimental forays into different forms of media presentation and to the critical examination of artificial intelligence and its uses. Over the past thirty years, the artist has been tracking the way camera images have mutated, from the analogue image and its manifold possibilities for montage to the fluidity of the split digital image and the implications this then had for the representation of wars, genocides, and capital flows. “We are no longer dealing with the virtual but with a confusing and possibly alien concreteness that we are only beginning to understand,” writes Brian Kuan Wood of the digital visual worlds that the artist presents. The book is being published in conjunction with Hito Steyerl’s survey show, which will take place in autumn 2020 at the Centre Pompidou in Paris and the Kunstsammlung Nordrhein-Westfalen in Düsseldorf. The cooperative project is funded by the German Federal Cultural Foundation. ↑ ↓ ↓

For more than a decade, works of art made from plant material have been at the center of Olaf Holzapfel’s artistic practice. Since 2009, Holzapfel has been developing a group of works together with weavers from a Wichí family in Gran Chaco, Argentina. His works highlight the connection between humans as settlers and their surrounding landscape and emphasize the relationship between center and periphery, urban and rural. An example of this are the textile works and installations made from the cactus fibre Chaguar and presented in the publication Textile. These textile works were made in a collaborative process between the artist and the Wichí weavers Teresa, Mirta, Dionisia, Noelia, and Luisa Gutiérrez. In their beauty, the works combine contemporary aesthetics with the weavers’ knowledge of the colors and properties of the forest. The publication contains documentational material of Holtzapfel’s work, texts by Olaf Holzapfel, Andrea Elías, and Inka Gressel as well as an interview with the Wichí weavers. ↑ ↓ ↓

Published on the occasion of the first major retrospective of Dara Birnbaum's work. Since the 1970s Dara Birnbaum has been studying and making art about mass media. Her videos and installations often focus on the way we look at political events and how we are influenced and manipulated by images, television, and the media in general. This book combines photographs of these and other works with fascinating dialogues between Birnbaum and the curator Hans Ulrich Obrist as well as numerous insightful critical essays. Including never-before-released images from the artist's personal archives and bringing together early and recent works, this book is the most comprehensive resource available on this important figure in contemporary art. ↑ ↓ ↓

In the style of a catalogue raisonné, Reto Pulfer’s comprehensive monograph, Zustandskatalog: Catalog of States and Conditions, follows the artist’s work over the past fifteen years. Excerpts from the artist’s novels as well as insightful texts by Anselm Franke and Benoît Maire are juxtaposed with 475 documentary photographs of Pulfer’s technical drawings, one-off exhibitions, large-scale installations, and performances. Categories such as living ceramics, food advice, ghostology, synesthesia, and transformation are woven throughout the book, giving unique insight into the ideas and imagination that are part of the work itself. ↑ ↓ ↓

This publication El Plástico, the Sun that lives inside the Rock is an observation on evolution of material plasticity, it is a story about plastic whose native land is Mesoamerica. It explores the past, present and future of plastic through encounters with various people — a weaver from Oaxaca, a taxi driver, a sociologist working on trash collection in Mexico City and the owner of a small family-run plastic factory. The book contains a polymorphous project resulting from several years of research by artist Viktorija Rybakova and designer Goda Budvytytė, it also includes a conversation between philosophers Kristupas Sabolius and Catherine Malabou, and essays by Post Brothers and Chris Fitzpatrick. ↑ ↓ ↓

This book is an overview of the exhibition program of Bart van der Heide from 2010 – 2015, which he realised as the director of Kunstverein München. Each exhibition is presented by a corresponding booklet, containing all texts and images. These accompanying publications were designed individually for each exhibition in cooperation with Studio Manuel Raeder. The different designs play with various fonts, formats, and graphic elements. Together with these publications, a variety of coloured images of exhibition views conveys the curatorial direction as well as the identity of the Kunstverein in those years. A reflection by Bart van der Heide and all booklet texts are included in both German and English. ↑ ↓ ↓

Rodrigo Hernández’s first larger publication depicts several paths around his sculpture “Figure 1”. Seven writers, invited to collaborate on this publication, reflect on his artistic practice and on this particular work and conform the spine of this book. Accompanied by both recent and earlier works, these new texts offer the reader to look from different angles at his poetic oeuvre. The catalogue has been published on the occasion of Rodrigo Hernández’s solo exhibition “I Am Nothing” at the Heidelberger Kunstverein (17.9.–20.11.2016) with the support of the Ministry of Science, Research and the Arts Baden-Württemberg. ↑ ↓ ↓

For her first solo exhibition in Asia, Canell made research into the production and distribution of fiber optic sheaths in the outskirts of Seoul, where cable mounds are sorted according to colour and eventually remoulded into the synthetic circumferences of future relations. Literally caught in between melting and being repurposed, several hundred meters of gutted sheaths are compressed into dense lumps of immaterial distance. The accompanying book consists of ten short new texts around which fragments of communication with the authors have been punctuated by observational photographs and sculptural documentation. Contextualized by both recent and earlier works, the exhibition and book considers sculpture as a medium of storage, transmission and reception. ↑ ↓ ↓

Abraham Cruzvillegas’s investigates the relationship between materiality and the narrative of places with his aesthetic concept of autoconstrucción, reconstrucción and autodestrucción, for what he experiments with video, performance, personal and family archives, as well as academic research. His project Autodestrucción6: Chichimecachubo: Matzerath@S13, 2014 at Gdansk City Gallery 2 refers to the story of Oskar Matzerath, the protagonist of Günter Grass’s novel The Tin Drum, a literary narrative originating from Gdansk. Based on Mazerath’s piercing scream he linked this fiction to the real story of Mexican composer Julián Carrillo, a pioneer of microtonality. ↑ ↓ ↓

This catalogue accompanied the exhibition La Letra E está por doquier organized by Studio Manuel Raeder in collaboration with the Centro de Diseño in Oaxaca, Mexico and, subsequently, on display at the Archivo Diseño y Arquitectura in Mexico City, the Kunstverein München and Galerie Neu, Berlin. Two open structures of wooden cubes displayed a selection of catalogues and artist books produced by, and central to the practice of the Berlin based design studio over the the last decade. The publications were exhibited spatially amongst collected and found objects, such as pieces of Barro Negro (Black Clay) – a style of pottery originating from Oaxaca, which the designers collected during their interaction with local artisans and ancestral craft techniques. ↑ ↓ ↓

This publication is printed on the occasion of Haegue Yang’s solo exhibition of the same title at La Panacée – MoCo in Montpellier. Chronotopic Traverses brings together unexpected arrangements of Yang’s versatile sculptures of various materials against a backdrop of a panoramic and dramatic wallpaper titled Incubation and Exhaustion (2018, in collaboration with Manuel Raeder). The sense of being immersed is omnipresent, through the scent of pepper leaves and stems in every corner of the exhibition spaces and a 30-minute long recording of bird sounds that originated from the April 2018 inter-Korean summit in the Korean Demilitarized Zone. Interwoven by both organic and artificial elements, the exhibition attempts to cross time and space. ↑ ↓ ↓

Neither the book is a publication that arose from Neither the exhibition, curated by Fernanda Brenner in 2017 to inaugurate the Brussels gallery of Mendes Wood DM. Yet Neither the book is not a documentation of Neither the exhibition. Instead a selection of the artists who exhibited have been invited to produce new works for the page that, alongside a fictional history of the gallery’s new European home, written by Oliver Basciano, mingle with a photographic commission from Mauro Restiffe. They, like the exhibition, evoke a space somewhere between moving in and feeling at home, a capturing of a place that was no longer a family abode and not yet a fully functioning commercial gallery. By taking this conscious pause—respecting the distance and the journey of an exhibition from idea to materialization to memory—Neither the book hovers and loops between proposal, scrapbook and diary. ↑ ↓ ↓

Dissected into five colours in motion – all at once skin, gesture, word, voice – this first trilingual monograph by Elise Florenty and Marcel Türkowsky focuses on five film-projects investigating different layers of consciousness and power relations that blur the modern boundaries between the animate and the inanimate, the verbal and the non-verbal, the dream and the awake state. Each project unfolds minor situations in marginal zones – from Mississippi to the Aegean Sea, Brazil to Japan and Eastern Ukraine – where the human and the nonhuman – an imaginary river, an amazonian parrot, a speaking cactus plant or cannibal electrons – often meet to bring back “social-utopic” experiments and the part of future that seems to have been buried with them. The catalogue was published on the occasion of the exhibition Inter-passion by Elise Florenty and Marcel Türkowsky at Grimmuseum, Berlin (February 4–March 18,2017) with the support of the Cnap and Stiftung Kunstfonds. ↑ ↓ ↓

"All my pictures require no additional interpretation. They are suitable as a model for the viewer's imagination. My life's work is to produce pictures whose imagination immediately renews the diminished life efficiency of the viewer after any type of interruption." (Dietrich Orth). ↑ ↓ ↓

Group Affinity reflektiert eine experimentelle Sommerschule, die 2011 im Kunstverein München stattfand und in Zusammenarbeit mit Casco organisiert wurde (siehe Group Affinity). Fünf unabhängige Kollektive oder Gruppen - Andreas Müller & Susanne Pietsch, Chicago Boys, Cinenova, Grand Openings sowie Slavs and Tatars - leiteten die Fakultäten und setzten ihre jeweiligen selbstorganisierten Praktiken sowie Forschungs- und Arbeitsprozesse in Curricula für die Teilnehmer um. ↑ ↓ ↓

Figures of Perception is a result of the artist Ebbe Stub Wittrup’s solo exhibition at Villa Salve Hopes at Kunstverein Braunschweig in Germany in 2016. The publication is both a catalogue and a perspective of the artist’s practise of the past 10 years. The book was developed in collaboration with Kunstverein Braunschweig. In addition to a large number of work illustrations, the book offers text contributions by the curator of Kunstverein Braunschweig, Jule Hillgärtner, and Aline Fieker, curatorial assistance, as well as an essay by Helmut Zander, professor of religious studies at the Université de Friborg in Switzerland ↑ ↓ ↓

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This publication, designed by Studio Manuel Raeder in close dialogue with Pedro Barateiro, is published after the exhibition Palmeiras Bravas / The Current Situation at the Museu Coleção Berardo in Lisbon from February 11 to May 24, 2015. The works exhibited were conceived specifically for this occasion and were linked by several narratives to produce a disturbing view of the current state of affairs of the culture in which we live. The book manages to register the installation, described by Pedro Lapa, curator of the exhibition and author of the main essay. ↑ ↓ ↓

Photographs by Rubén Ortiz Torres document the wide range of Latin American art in the collections of Carl Baldwin’s Velvetería, April and Ron Dammann, E. Michael ‘Baltazar’ Díaz, Betty Duker, Armando and María Durón, Alonso Elías and Patricia Fontes Rosas de Elias, Lêda Leitão Martins, Nicholas Pardon, Tom Patchett, Sammy Sayago, Dan Segal, Enrique Serrato, Billy Shire, Esperanza Valverde, Elisabeth Waldo, Richard and Rebecca Zapanta, the Stendahl Gallery, and Bill London’s Pedorrero Muffler repair shop. Six essays explore the cultural, political, and social histories of Latin American art and artifacts in Southern California collections, including Matthew H. Robb’s sleuthing on the pre-Columbian as MacGuffin in mid-century Los Angeles, Ana Elena Mallet on Taxco Silver in California, Jesse Lerner on the meeting of ancient and modern in the Arensberg collection, Selene Preciado on Chicano art collections and collectors, Rubén Ortiz Torres on the Pedorrero, and Amy Sánchez-Arteaga and Misael Díaz on the Elías Fontes collection. ↑ ↓ ↓

Views on Misunderstanding is the first monograph of Musa paradisiaca’s work spanning its universe to-date. Richly illustrated, and composed using a process of accretion of works realised in different media — sculptural, pictorial, textual, or sound-based — the images establish dialogues that would otherwise be inaudible. Conveying a series of voices gathered from and around Musa paradisiaca, the publication includes newly commissioned essays by Caustrino Jesus de Alcântara, Sofia Lemos, Maria Filomena Molder, Marco Pasi and Claudia Pestana, as well as short-form dialogues between Elfi Turpin, Filipa Oliveira, Luís Silva and João Mourão. ↑ ↓ ↓

The publication focuses, in a very precise but also circumscribed manner, on a specific aspect of Christoforos Savva’s work that is beyond the artist’s control: the artwork’s presence in the world. The moment the work leaves the studio and goes into the world is, quite often, when artists themselves find out whether it has sufficient autonomy and strength. In Savva’s case and particularly in the case of such a fragmented photographic archive – and, therefore, so fascinating and suggestive – as the one presented in the book, the glimpses of his work in contact with the world over time silently witness and reflect the transformations of a society. Looking at, often blurred or slightly crooked, amateur photographs is a way to reaffirm that what matters, when one faces the work of Christoforos Savva, is not only or not so much individually looking at each painting, yfasmatography, or relief on its own, but also looking at the world around them. ↑ ↓ ↓

“Invited by Lucie Stahl to respond to her gorgeous and trashy collaged posters, I look back in my diary and am surprised by the number of parallels in our dreams and notations. I’ve never met Lucie Stahl but we live in the same world: oil spills, palm fronds, novelty key chains, sports beverages. Like me, she’s a self-appointed reporter. Stahl’s posters begin with her odd inclination to write down fragments of overheard conversations, ambient thoughts and fleeting anxieties that – once preserved (and obsessively so, under buckets of chemical gloss) function as video-grabs from the deluge of information that we understand, more or less, to comprise consciousness.” (Chris Kraus) ↑ ↓ ↓

The first in-depth survey of Duarte's practice, and the first time that a selection of his poems and texts have been translated into English. ↑ ↓ ↓

Door Between Either And Or is compendium of a multifarious project initiated by Kunstverein München director Bart van de Heide in 2013/14, which included an exhibition at Kunstverein München and seminars and satellite events in Munich, London, and New York City. The goal was to reconsider binary distinctions in the early 21st Century, to confront how such oppositions operate at the foundations of capitalism, gender, sexuality, and our cultural institutions, and to survey how these divisions have increasingly eroded in our contemporary moment. ↑ ↓ ↓

This publication is based on the exhibition of the same name hosted by the Verein zur Förderung von Kunst und Kultur am Rosa-Luxemburg-Platz e.V., Berlin, April 28 to June 24/August 19, 2017. Accompanying the two major neon sculptural installations from that exhibition, The Statisticon Neon and Pizzagate, it is an analysis of the emerging political conditions of late-stage cognitive capitalism, conditions in which the brain and mind exist as the factories of the 21st century. Of particular interest in this analysis is the brain’s neural plasticity, and the role of new technologies in harnessing its potential. Also crucial is the role of art in creating new, distinctive methods, atmospheres, and intensities with which to thwart new methodologies of subsumption. ↑ ↓ ↓

In the trilogy of videos portraited in this book, Insight, Suspension and The Lost Object, the artist invites us to suspend ourselves in a dream-like scenario dominated by lighting effects. We do not enter a dark room but an atmosphere subject to the different beams of light shining all around us. That is the point, to throw light on the unknown, or on what we take for granted as natural when in fact it is nothing more than an impoverished fallacy. Or maybe it is simply about shining a light on ourselves as subjects and returning to the true essence of things: beauty, surprise, novelty and illusion. The unknown. ↑ ↓ ↓