The circus is a drama that extends its own means, and the metaphor of its name (itself clowning around with the word) is widespread across the art industry, financial world, and, of course, anything to do with performance. For four years during the mid-aughts, photographer, video and film artist Ieva Epnere immersed herself in the life of the Riga Circus – a type of traditional circus that cherishes the respectful use of animals, operating on a circus-family model (skills are passed down through generations to produce family units that travel and live on the road), and the big top tent (the landmark interior of one of the oldest circus structures, built for this purpose in Europe since 1888) as a performance space. This publication, that was developed during Ieva Epnere’s fellowship with the Artists-in-Berlin Program of the DAAD, symbolically marks four stages of her single, larger work. Fine-tuned digital color shots, a collection of black-and-white 35 mm film prints showing action at the Riga Circus, followed by a burst of color shots and black and white photos taken on a film camera, to end with a set of intimate black-and-white portraits of the performers. Whereas the conversion of circus into text might to some degree be a violation of the true nature of its subject, Ieva Epnere’s book – with the help of elephants, clowns, all the “freakery,” and her kaleidoscopic peek into the machinery that makes performances in the arena possible – itself stands as an adventurous act of reinvention. ↑ ↓ ↓

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. ↑ ↓ ↓

Das Keramikos-Buch zeigt photographische Aufnahmen von insgesamt 300 bemalten Stücken, die die Künstler Matthew Lutz-Kinoy und Natsuko Uchino seit 2010 geschaffen haben - darunter Teller, Schalen und Krüge. Einige Objekte werden von narrativen Beschreibungen begleitet, die die Vorstellungen von Gesellschaft, Religion, Politik, Stil und Technik durch die lange Geschichte der keramischen Produktion aus der hispano-moresken, byzantinischen, islamischen und koreanischen Keramik aufgreifen. Jede Platte ist auf der Recto-Seite gedruckt, ihre Rückseite ist in der gleichen Position auf der Verso-Seite derselben Seite abgebildet. Ein umfangreicher Index rundet das Buch ab. ***** The Keramikos book presents front-and-back photographic records of 300 painted pieces that artists Matthew Lutz-Kinoy and Natsuko Uchino produced since 2010 - including plates, bowls, pitchers and oil jars. Some objects are accompanied by narrative descriptions that present aspects of the duo's vast and complex research exploring notions of society, religion, politics, style and technique through the long history of ceramic production motifs from Hispano-Moresque, Byzantine, Islamic and Korean ceramics. Each plate is printed on the recto side with its reverse shown in the same position on the verso side of the same page. An extensive index completes the book as well as an interview with the artist and curator Nicolas Trembley. ↑ ↓ ↓

'Though their house was new, the wall had been there a long time.' In these two stories, which have never before been translated into English, Tsushima shows how memories, dreams and fleeting images describe the borders of our lives. ↑ ↓ ↓

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In Underland, Robert Macfarlane takes us on a journey into the worlds beneath our feet. From the ice-blue depths of Greenland's glaciers, to the underground networks by which trees communicate, from Bronze Age burial chambers to the rock art of remote Arctic sea-caves, this is a deep-time voyage into the planet's past and future. Global in its geography, gripping in its voice and haunting in its implications, Underland is a work of huge range and power, and a remarkable new chapter in Macfarlane's long-term exploration of landscape and the human heart. ↑ ↓ ↓

This long-awaited monograph presents the breadth of JB Blunk's practice and includes never-before-seen archival and newly commissioned photographs of jewelry, ceramics, paintings, furniture, sculpture and his hand built house. Edited by Mariah Nielson and Åbäke, the book features essays by Lucy Lippard, Glenn Adamson, Fariba Bogzaran and Louise Allison Cort. JB Blunk is designed by Åbäke, printed by die Keure and co-published by Blunk Books and Dent-de-Leone. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

This publication, in form of a leporello, captures a singular sixty-meter-long (one-hour) drawing by artist Tanaz Modabber. Conceived with the core idea that the piece would shift form, scale, and tone through multiple stages of translation, the work’s latest transition manifests as this artist-annotated publication with accompanying essay by Cassandra Edlefsen Lasch. Activated by varying means, the scroll-like drawing has been read as a score as well as, in this format, the basis for an expanded referential mapping. Along the length of the published piece a collection of images suggests potential relationships between prosody in poetry, music, architecture, and politics in Iran. In 2014 an hour-long video of the meandering drawing was displayed as notation for a prize-winning sound composition performed by Modabber and sound composer Pierre Mourle within the Tokyo Experimental Festival Vol. 9. The visual composition remains open to interpretation in future texts, sounds, and spatial arrangements. ↑ ↓ ↓

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). ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

Kukje Gallery is pleased to present When The Year 2000 Comes, a solo exhibition by Haegue Yang, an internationally recognized artist based in Seoul and Berlin. This is the artist’s first exhibition at Kukje and fourth solo exhibition in Korea since her last presentation at Leeum, Samsung Museum of Art in 2015. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓