The Long Road to Xico, 1991–2015 is the first monograph of Brazilian artist Maria Thereza Alves, and the outcome of her solo show at the Centro Andaluz de Arte Contemporáneo in Seville in 2015. It gathers more than twenty projects realized between 1991 and 2015, including rarely viewed early works that help us see her most recent production from a new perspective. This publication also collects a selection of Alves’s writings and contextualizes her work in the political and cultural debates from the 1980s, when she became an activist—in the United States and Brazil—and an early participant in discourses around “postcolonialism” and “ecology.” Together with these materials, the book contains essays by the editor, Pedro de Llano, and T. J. Demos, professor of art and visual culture at the University of California, Santa Cruz, and author of Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016). Containing an exhibition history and bibliography with a record of Alves’s activities in art, literature, and politics since the late 1970s as well, The Long Road to Xico, 1991–2015 establishes itself as the main publication on the artist’s work to date. ↑ ↓ ↓

Final Kadath Fatal is the third and last volume in a series of artist books by Henning Bohl. The title loosely refers to H. P. Lovecraft’s novella The Dream-Quest of Unknown Kadath (1926/27), in which Kadath appears as a mystical place to where the gods have betaken themselves “in the cold waste where no man treads.” The publication accompanies Bohl’s installation of four large-scale murals for the subway embankment wall along Paltaufgasse in Vienna’s 16th district, whose rough-faced, square-dressed stones are reminiscent of imperial architectural gestures like the rusticated facade of Palazzo Medici in Florence. It has been on display since Summer 2016, made possible by KÖR – Kunst im öffentlichen Raum Wien. ↑ ↓ ↓

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 ↑ ↓ ↓

Makulatur, a German word that derives from lat. maculatura ’something stained’, refers to misprinted paper that is discarded at the beginning of the printing process as use- and worthless. In 2010, the graphic designer Manuel Raeder started to collect and preserve misprinted sheets of all the publications he designed not only for his own publishing house BOM DIA BOA TARDE BOA NOITE but also for fellow artists and institutions. These original waste paper sheets, with different qualities and grammatures, – trails, testy or stains – were combined to a new volume as a compilation of maculae ’stains’. Thus, dissolving the spoiled material from the realm of invisibility and displays it to the public whereby the Makulatur book reveals and reflects on the conventions of a book. ↑ ↓ ↓

This publication presents an extended interview with the French architect Claude Parent (1923 – 2016) by curator Mai Abu ElDahab and visual artist Benjamin Seror that took place between 2013 and 2015. Committed to experimentation throughout his life, Parent questioned his field and his own practice in his unique polemical and provocative manner motivated by his desire to see ideas circulate and conventions challenged. The book is based on transcription of conversations allowing Parent’s unique storytelling voice and style to come through. ↑ ↓ ↓