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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.

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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.

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This book is printed on the occasion of Haegue Yang’s nine-month presentation of VIP’s Union at Kunsthaus Graz. The exhibition unfolded in two phases: Phase I involved furniture, loaned by private individuals, which was widely used throughout the building; Phase II collected and presented the objects in one of the exhibitions spaces, altering their status from (usable) furniture to exhibits. VIP’s Union at Kunsthaus Graz followed mutations of the project at Art Forum Berlin (2001), Arnolfini, Bristol (2011), M HKA – Museum of Contemporary Art Antwerp (2014), Bonner Kunstverein, Bonn (2014), and Leeum, Samsung Museum of Art, Seoul (2015). A genealogy; reference projects; texts by Nav Haq, Katrin Bucher Trantow, and Barbara Steiner; and a conversation with Haegue Yang provide multiple views on the nature and evolution of the project over the years.

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English and Portuguese texts. This book was published on the occasion of the artist’s solo exhibition, Zona de Crepúsculo, at the Iberê Camargo Foundation, Brazil, in 2018, curated by Bernardo José de Souza. The following texts are a rendering, in written form, of monologues included in his performance The Zone, 2015-2018. The artwork consists of an after-hours tour in and around a given exhibition space, where a series of found narratives are performed by the artist. With psychoanalysis and literature as his usual starting points, Pablo Pijnappel’s works are meta-narratives that poetically combine cultural, historical and ancestral identities through the prism of memory. Language always plays a leading role in uniting mental mechanisms and the world, in video installations, texts, or performances that lie at the crossroads between cinema, photography, and fragments of prose.

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The publication is a collaborative project bewtween Frac Île-de-France, the Cypriot artist Haris Epaminonda, and the Berlin designers Santiago da Silva and Simon Steinberger. It recounts and translates the experience of the exhibition VOL. XVI, presented at Le Plateau in 2015, for which the artist had created a global environment. Through a series of parallel actions the whole exhibition was connecting the interior and exterior with the presence of an old Japanese man “living” in the exhibition and with two young women dressed in traditional Japanese costumes who were walking in the des Buttes-Chaumont Park in Paris. This book concentrates the different perspectives of the artist’s work, where the idea of travel, of displacement – in time and space – offers a unique spatial experience combined with the cinematographic dimension included in the exhibition. At the same time, are gathered the critical texts of Philippe Artières (Historian and Research Director in CNRS, EHESS), Chris Sharp (Independent art critic), and Aurélie Verdier (Curator in Musée national d’art moderne, MNAM-CCI, Centre Pompidou).

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Written between 2015 to 2018, From self-employment to employment, follow Andreas Sell’s path from self-employment to permanent work. This artist book is his second in a five-yearly series and follows his early booklet, titled Lifestyles, published by BOM DIA BOA TARDE BOA NOITE, in 2015.

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By way of word games and schematics, Anna M. Szaflarski searches for the ‘emergent properties’ that materialize between texts. This book compiles the issues from Letters to the Editors: a self-printed black and white bi-weekly journal dedicated to text-based practices, written and distributed by Szaflarski between October 2014 and November 2015. Each issue combined Szaflarski’s texts with contributions from artists, writers, family, friends, librarians, and colleagues, ranging from poetry and fiction to essays and manifestos. As the project progressed the letters came together and the body of LTTE formed: It had arms and legs, perhaps a brain but above all, a heart and a stomach, often aching, rarely satisfied.

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This publication is a continuation of Gabriel Sierras site-specific installation project at the Renaissance Society in 2015. Sierra is intrigued by the language of the spaces in which we live, work, and think. His practice employs a variety of techniques to examine how the human body functions in relation to its environment. The Bogotá-based artist’s first solo show in the United States consisted of a group of constructions to stand in, walk over, or lie down in, and relating abstractly to the idea of inhabiting different moments of space and time. The title of the exhibition changed every hour to frame the specific moment in which the visitor experienced the work.

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Catalogue for le plan flexible, a solo show by Leonor Antunes at CAPC – Musée d’Art Contemporain de Bordeaux, November 2015 – March 2016. In 2017, CAPC – Musée d’art contemporain de Bordeaux introduced a new series of publications dedicated to the installations exhibited in the nave of the CAPC over the past 40 years. Studio Manuel Raeder was chosen to design the publications of this series. The first publication in the series, documenting the exhibition le plan flexible by Leonor Antunes, makes use of different kinds and qualities of paper to play with the effects of transparency and visual superpositions, characteristic of the artist’s work. The book includes an interview with the artist as well as an excerpt from a historical text by Anni Albers (“The Pliable Plane”), which inspired the title of Leonor Antunes’s exhibition.

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Five essays that take an intimate look at what language’s role is in moments of dramatic change, and how to find meaning for artistic practices in these transformative conditions. Taking its cue from the aftermath of the events of the Egyptian Revolution in 2011, Final Vocabulary doesn’t provide answers as much as it captures the spirit of the moment of searching in which the writers find themselves. The book was developed out of a live conversation at an event called “The Informal Meeting” that took place in Leuven in January 2015, where participants were asked: Our histories and references are often in a different language (abstract or actual) than we use ourselves, what tools do you think are or might be useful to help you trust your own memories and narratives? What, if anything, do you think we might borrow from art to experiment with language in different situations? In English and Arabic.

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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.

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In Lifestyles Andreas Sell combines a diary with photographic documentation, pictures of sculptures and drawings from 2010 to 2015. These excerpts reflect his nomadic-like life, the clearance of his parents’ household and the enterprise of building a holiday house. Andreas Sell’s artistic process reveals a strategic method within the conventions of our capitalist society, which are simultaneously subject to critical analysis. A question discussed since the 1960s is a recurrent theme: Where does the private sphere cross over into the public sphere? Over the last years, Sell worked on the founding and operation of an employment agency, the documentation and sorting of his property, living without a permanent residence and travelling to the Sahara without mission or goal. The book co-constitutes together with the holiday house on the island of Lesbos the making of an art work.

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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.

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