Alaa Abd el-Fattah is arguably the most high-profile political prisoner in Egypt, if not the Arab world, rising to international prominence during the revolution of 2011. A fiercely independent thinker who fuses politics and technology in powerful prose, an activist whose ideas represent a global generation which has only known struggle against a failing system, a public intellectual with the rare courage to offer personal, painful honesty, Alaa’s written voice came to symbolize much of what was fresh, inspiring and revolutionary about the uprisings that have defined the last decade. Collected here for the first time in English are a selection of his essays, social media posts and interviews from 2011 until the present. He has spent the majority of those years in prison, where many of these pieces were written. Together, they present not only a unique account from the frontline of a decade of global upheaval, but a catalogue of ideas about other futures those upheavals could yet reveal. From theories on technology and history to profound reflections on the meaning of prison, You Have Not Yet Been Defeated is a book about the importance of ideas, whatever their cost. ↑ ↓ ↓

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. ↑ ↓ ↓

Hokusai Manga is one of the masterpieces by Katsushika Hokusai (1760-1849), a master of Ukiyo-e art, depicting ordinary people's lives, animals, plants, landscapes, historical figures and mythological monsters. Originally intended as sketches for his students to copy, Hokusai Manga was quickly distributed throughout Japan and became very collectable by the feudal lords and the general public during his time. ↑ ↓ ↓

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It was a game of memory, all the cards turned over in no particular succession. And she couldn't recall the rows in which the precious pairs were placed. He landed face up time and again plaguing her with the sensation of having inadvertently laid his useless card in the wrong place on multiple occasions. She needed Silas and Jacob Payne. She needed to find their mirrored faces and stack them on her side of the table. Being identical twins, the Payne Brothers had the talent of being everywhere at once. ↑ ↓ ↓

The artist book in fugue, which was produced for the exhibition of the same name at the Kunstverein Hannover, is the first comprehensive publication on the artist Isabel Nuño de Buen. The book develops a parallel narrative to the exhibition by presenting the works through a subjective cataloguing system that corresponds to the central elements of her practice: intuition, improvisation and process-based thinking between drawing, sculpture and installation. Exhibition views are combined with a re-imagination of the works within the space of the book, bringing together photographic reproductions with drawing and colour. The stitch binding technique of the book was specially developed and is partly handmade by the artist. The publication provides a profound insight into the artist’s multi-layered oeuvre, which oscillates between sculpture, installation, and drawing and focuses on a fascinating subjective world of forms and thoughts. ↑ ↓ ↓

This publication assembles three phases of Termite Economies, a major series of artworks produced between 2018 – 2020 by the Australian artist Nicholas Mangan. In Termite Economies (Phase 1) Mangan researched an anecdote that termite abilities might one day lead humans to gold deposits. Phase 2 explored termite eusociality, pheromonal communication, building behavior, biomimicry, superorganism and swarm intelligence. Phase 3 deployed termite collectivism as a speculative model for rerouting human neural pathways. Within each phase, Mangan developed specific methods to explore these phenomena formally, spatially, and through moving images. Termite Economies grappled with the potentiality of collective social behavior and complexities of systematic exploitation of non-human intelligence. The book presents each phase in the order of the exhibition series. It includes process and research photographs, diagrams, installation and detailed imagery. It includes an essay by Artist Mariana Silva, a fictional text by writer ST.Lore, a conversation between Mangan and cultural theorist Ana Teixeira Pinto, and a republished essay by Dr. Guy Theraulaz Research Director Member of Team CAB: Collective Animal Behavior Center for Research on Animal Cognition, CNRS. ↑ ↓ ↓

With a book, an installation in our window space and an outdoor performance series, Claudia Hill presents the travel diary of a handwoven poncho. In her project that spans ten years, the artist challenged the participants to ask the question: What is the most essential element of what you do, and how can it be shared in a significant way? Hill shows this to be an urgent question, locating the value of art in its relational and transformative contingencies. The poncho was passed between artists in different geographic locations during this ten-year period. Every artist, or occasionally someone on their behalf, handed it off to the next participant, and Hill would prompt them: “Do something with this, and then send me something.” The results of these projects will be published in a book with 30 different contributions, released alongside the exhibit. In the book, as well as through the video project on view at Efremidis, Hill evokes a collective consciousness emerging from this garment. Weaving the poncho was the starting point of the piece, and this gesture ultimately became one of care and togetherness. As poet CAConrad exclaims, “I feel the beautiful residual haunting of those who wore it before me!” ↑ ↓ ↓

This book is published on the occasion of the exhibition Lee Bul: Beginning organized and presented by Seoul Museum of Art, March 2 - May 16, 2021 ↑ ↓ ↓

A collection of short stories written between 2018 – 2021 ↑ ↓ ↓

Es sind die 2020er Jahre, es ist kompliziert. Und es gibt einen Skandal: Saraswati ist WEISS! Schlimmer geht es nicht. Denn die Professorin in Düsseldorf war eben noch die Übergöttin aller Debatten über Identität – und beschrieb sich als Person of Colour. Für ihre Studierende Nivedita bricht eine Welt zusammen... Mit beglückender Selbstironie und befreiendem Wissen erzählt IDENTITI davon, was uns alle ausmacht. ↑ ↓ ↓

Let’s say a blank page is not actually blank. In fact, let’s say it is anything but blank. Devoid of colour, yet infinitely colourful; full of possibilities for multicoloured pens and literally covered by multitudinous life forms. It turns out that even the emptiest page is technically more than full – it’s alive. Do microbes respond to colour on paper? Can spontaneous doodles give rise to new species? Based on Antonie van Leeuwenhoek’s term for microorganisms, this age-fluid book considers a world where the smallest is suddenly in control of the largest. Its illustrations function as an exploration into morphological occurrences, rejecting the goal-oriented, the figurative and the categorical. Following a traditional format, these pages attempt to open up a creative bypass. To draw is to embrace mutational forms, and to colour in these pages is to understand that many possible forms may emerge as a bear or a bacterium. We are what we draw. Time then to let those animalcules express the possible colours of kingdoms to come. ↑ ↓ ↓

As transnational extractivism, neo-fascist politics, and economies of abandonment and disposability expand around the world, can we facilitate situated practices of storytelling and worldmaking that enliven futures propelled by the forces of indignation, desire, and relationality? Despite Dispossession: An Activity Book extends an invitation to restore and reinvent bonds of reciprocity with the land, humans, and non-humans, while envisioning transformative and shared horizons. This collaborative endeavor takes as its point of departure the contested realities and public struggles of the dispossessed. Bringing together seven site-sensitive engagements, the contributors develop their artistic works, as well as speculative tools and activities, to conjure worlds to come in the ruins of dispossession. The result is a combination of subtle theoretical reflection, pluriversal modes of inquiry, and unruly epistemic intervention. Drawing its inspiration from decolonizing methodologies, Black aesthetics, and epistemologies of the South, the project gathers these influences for a novel experiment that demonstrates how arts-based researchers confront dispossession through itinerant practices of resistance. ↑ ↓ ↓

Adrian Williams. The Curve focuses on the sunset, the moment between day and night structuring our days into a before and an after. Our baring witness to the sunset relies on the specific constellation of time and place, events bound to the trajectory of the sun. The book is composed of three reflections on this space of transition as the sun slips beyond our line of sight. The horizon, the line between earth and sky becomes a surface for projection, for form in the absence of it, and although the sun sets every day, its movement familiar and predictable, it is nevertheless spectacular. The Curve is based on a performance of the same name by the U.S. artist Adrian Williams, realized in 2019 with six musicians at Preußenstadion home of the third-division soccer team SC Preußen Münster. At sunset, the stadium became the setting for an acoustic intervention of light and sound. The book extends the performance beyond its original venue with Münster’s Preußenstadion as its starting point. The three authors introduce encounters at dusk from different perspectives and tell stories linked to the course of the sun. Merle Radtke shares memories of sunsets seen and the art historical relationships to the natural spectacle we award them. From a rooftop in Washington, D.C., Matthathias Schwartz reenacts The Curve, listening to recordings from the stadium in Münster, at another place and time. Adrian Williams writes through the piece of the piece, voicing a possibility for the work’s intent. These three texts are wound between Williams’ photographs of sunsets at dusk: light on clouds, a reflection in a window, the glow behind a mountain. These images are always evidence of an instance recorded, of having been present at a time and place, for the meeting of the sun at the horizon. ↑ ↓ ↓

Conceived in close collaboration with Shimabuku as an extension of his exhibition The 165-metre Mermaid and Other Stories at Villa Paloma in 2021, this new publication tells of the poetic actions conducted during his travels, between his native Japan and Monaco via Brazil, Australia, and many other lands. The artist’s texts form the narrative thread of a subsequent ensemble of installations, films, sculptures and photographs made over the last thirty years. Three essays never published before have been written for the occasion by art critics and curators Nicolas Bourriaud and Claire Le Restif as well artist Rirkrit Tiravanija. As an introduction, Célia Bernasconi, curator of the exhibition, traces Shimabuku’s artistic adventures through a logbook, therefore, confronting the epidemic context. Through the logbook, she reviews productions made by Shimabuku in Monaco in 2021, amongst which the totemic work Erect is featured on the cover of the book. ↑ ↓ ↓

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. ↑ ↓ ↓

‘Meet girls. Take drugs. Listen to music.’ In Rave, cult German novelist Rainald Goetz takes a headlong dive into nineties techno culture. From the cathartic release on the dance floor to the intense conversations in corners of nightclubs and the after-parties in the light of dawn, this exhilarating, fragmentary novel captures the feeling of debauchery from within. Dazzling and intimate, Rave is an unapologetic embrace of nightlife from an author unafraid to lose himself in the subject of his work. ↑ ↓ ↓

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 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. ↑ ↓ ↓

Window / Spacetime is a portrait of the city of Berlin. A variety of shops that have names of countries and cities refer to different faraway places and invite the reader on an imaginary journey. Dis- and misplacing distant memories of the past triggers a yearning sense of other destinations within the everyday scenarios. The publication succeeds a video work with the same title which was shown at the exhibition Drift and Shift in Kunstverein Göttingen in 2018. ↑ ↓ ↓

Bom Dia Kinder is about children books made by artists. The first one is this coloring book by Dr. Lakra ↑ ↓ ↓

›Dunkler Kontinent‹, ›Elendsgebiet‹ oder ›Rohstofflager der Welt‹, noch immer denken und reden wir über Afrika in Stereotypen. Und noch immer ist der Maßstab, mit dem wir den Zustand und die Perspektive des Kontinents beurteilen, das Entwicklungsmodell des Westens, selbst wenn sich dieses weltweit als höchst zerstörerisch erwiesen hat. In seinem bahnbrechenden Manifest, das zugleich Analyse und Utopie ist, fordert Felwine Sarr eine wirkliche Entkolonialisierung Afrikas, indem es sich auf seine vergessenen und verdrängten geistigen Ressourcen zurückbesinnt, ohne gleichwohl den Kontakt mit der Moderne zu verleugnen. So findet sich eine Fülle kulturellen und geistigen Reichtums, die auf ein anderes, ausgeglicheneres Verhältnis zwischen den Menschen und zwischen Mensch und Natur verweist. Die afrikanische Kulturrevolution bietet dabei auch für den Rest des Planeten dringend benötigte Ansätze, um eine bewusstere und würdevollere Zivilisation zu begründen. In 35 Jahren wird ein Viertel der Weltbevölkerung in Afrika zuhause sein – höchste Zeit, die verborgene Lebenskraft des Kontinents zu entdecken und das Zeitalter des Afrofuturismus einzuläuten. ↑ ↓ ↓

A companion catalogue for Kai Althoff’s intimate and enduring exhibition of new paintings and works on paper presented at TRAMPS New York October 2018 - January 2019 with text contributions from DovBer Naiditch, Ansgar Murr and Hanayo Nakajima. Kai Althoff is widely considered to be one of the most influential contemporary artists of his time. Painting and drawing play a central role in his diverse and very personal practice that also includes music, film/video, performance and sculpture. ↑ ↓ ↓

Published together with the CAPC musée d'art contemporain de Bordeaux, this reference book and catalogue raisonné surveys the history of the independent publishing house Beau Geste Press (BGP) through the books published by its founding members Felipe Ehrenberg, Martha Hellion and David Mayor from 1971 to 1976. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

An essential sourcebook on conceptual art's famed champion, reproducing his texts as scans to immerse the reader in this deep archival dive. "Better Read Than Dead" was the title Seth Siegelaub had chosen for an anthology of his own writing—one of the projects for which he never found the time, busy as he was running his global one-man operation. The selected writings, interviews, extended bibliography and chronology in this source book fill historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Siegelaub’s life’s work. "Siegelaubian" paperwork comprises Siegelaub’s writings, which are reproduced as scans in order to convey the variety of the documents and to give a sense of archival immersion. Interspersed with these “writings” are interviews and talks, several newly transcribed. The majority of interviews from 1969-1972 are reprinted here. ↑ ↓ ↓

Jupiter is the monograph of the artist Andreas Sell by the curator Joel Mu and the outcome of their collaboration. It includes a selection of Andreas Sell's work of the last fifteen years, an essay in five parts by Joel Mu, and a poem by Alice Heyward ↑ ↓ ↓

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. ↑ ↓ ↓

"In Reto Pulfers Sci-Fi Roman Gina gibt es weder ein prä-existentes Innenleben und eine davon unabhängige Außenwelt noch ein kohärentes Subjekt namens ‚Gina‘. Hingegen besteht ihr Inneres aus purem Außen, und darum besteht sie aus vielem.“ – Anselm Franke ↑ ↓ ↓

Over a thousand years ago a form of material code emerged among the Andes mountains. By means of knotted ropes, called ‘quipus’, numbers and words were enacted. This publication The Andean Information Age knots together a universe of stories related to the quipu system, the history of its ongoing decipherment, and the disruption that this sensorial code may be able to trigger in our present. ↑ ↓ ↓

The motifs produced during time-intensive dyeing processes – which uses indigo, urine, and extracts of natural waste materials – are neither conventional fabric nor lace patterns, and they have only a distant relationship to batik painting. Yet, they are simulations and portraits of both. Pattern Nor Painting starts in a batik Workshop in Bantul, Indonesia where an artist reconnects with her blank canvas and the batik techniques she learned from an artist in Serekunda, the Gambia many years ago. As documented in this publication Van Hoorebeke’s installations and performances deftly combine unique textiles and ceramics with production-chain goods, ranging from car parts to strawberry jam. Engaging with ages-old traditions of batik production for present-day communities and settings, her work embodies ancient craft, story-telling, time, female thinking, and above all, a connection to the natural world. ↑ ↓ ↓

Dada a impossibilidade de concretizar uma nova edição devido às dificuldades impostas pela pandemia, o Fórum do Futuro 2020 adotou a forma de um livro que propõe debater, a partir de distintos princípios cosmogónicos, a existência humana e não-humana no atual contexto político e social. Fórum do Futuro: Vita Nova é copublicado com a editora de Berlim BOM DIA BOA TARDE BOA NOITE, e apresenta quatro secções temáticas que cruzam perspetivas artísticas, científicas, filosóficas e tecnológicas em ensaios escritos e visuais, histórias e entrevistas. ↑ ↓ ↓

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. ↑ ↓ ↓

Join the inimitable Fergus Henderson and Trevor Gulliver as they welcome you into their world-famous restaurant, inviting you to celebrate 25 years of unforgettable, innovative food. Established in 1994, St. JOHN has become renowned for its simplicity, its respect for quality ingredients and for being a pioneer in zero waste cooking – they strive to use every part of an ingredient, from leftover stale bread for puddings, bones for broths and stocks, to typically unused parts of the animal (such as the tongue) being made the hero of a dish. ↑ ↓ ↓

Belonging and estrangement intertwine in these four lyrical short stories from the the author of Invisible Man. ↑ ↓ ↓

'He needed to hear Africa speak for itself after a lifetime of hearing Africa spoken about by others' Electrifying essays on the history, complexity, diversity of a continent, from the father of modern African literature. ↑ ↓ ↓

'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. ↑ ↓ ↓

From the self-described 'black, lesbian, mother, warrior, poet', these soaring, urgent essays on the power of women, poetry and anger are filled with darkness and light. ↑ ↓ ↓

The Space for Visual Research was established at the Bauhaus-University Weimar in 2013 as a workshop and laboratory for experimental research into new graphic, abstract and visual worlds. The Space’s mission is to support the exploratory urge for new aesthetics, in particular by empowering design students to create their own individual imagery. The resulting »Space for Visual Research« publication is a lab book, a log of visual experiments conducted using physics, chemistry, optics and reproduction technology as starting points for image production. Technical explanations open up possibilities for customized reproductions of each visual experiment presented here, while commissioned interviews and essays as well as a hand-picked bibliography render »Space for Visual Research« a useful reference tool for visual research generally today. ↑ ↓ ↓

In 2011, the Contemporary Art Club (CAC) in cooperation with the Kunsthistorisches Museum Wien (KHM, Museum of Fine Arts Vienna), organised an exhibition series at the Theseustemple, a classicist building constructed at the beginning of the 19th century in Vienna’s Volksgarten. The project was launched with an exhibition by Andy Hope 1930, followed by Kitty Kraus and André Butzer. The series concluded with a dialogue between Lucy McKenzie and Ian Hamilton Finley, a complex and diverse group of young contemporary artists. This publication aims at documenting this experiment. Accordingly, also the concept to this exhibition series, the basis for the discussion initiated by CAC with the participants, will be published. ↑ ↓ ↓

Jac Leirner in conversation with/en conversación con Adele Nelson presents an extended dialogue between the Brazilian conceptual artist, Jac Leirner (b. 1961), and writer and art historian Adele Nelson, with an introductory essay by Robert Storr. Leirner’s meticulously constructed works carve out a place for commonplace objects, from cigarette packs and plastic shopping bags to cutlery and currency. In this, the first in-depth study of Leirner’s creative process, Nelson interviews the artist about more than two decades of production. Jac Leirner, born in 1961 in São Paulo, emerged in the early 1990s at the forefront of a new transnational generation of artists looking to the art of the 1960s and 1970s as a point of departure. ↑ ↓ ↓

Ein geradezu unerträgliches politisches Pamphlet, ein Machwerk äusserst gewaltaffiner Ideologie im besten revolutionärem Stil, wie er in den 60er und 70er Jahren so modern war. Ohne jeden wissenschaftlichen oder auch nur gesellschaftlich-politischen Wert. Nur lesbar als eine Art historisches Dokument, das Einblick in die krude Gedankenwelt der revolutionären “Befreiungstheoretiker” dieser Zeit gibt. Das Vorwort von Sartre nicht minder abwegig, aber auch das läßt tief blicken, da er schließlich einer der führenden Intellektuellen seiner Zeit war. Und es ist geradezu schockierend, daß diese pseudo-politische Kampfschrift immer noch hochwirksam ist, da seine diskursbildende Kraft bis heute wirkt. ↑ ↓ ↓

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. ↑ ↓ ↓

A reproduction of one of the architect’s personal sketchbooks this beautiful volume contains fifty-two drawings and collages that explore the passage of time and the possibility of a tender architecture. The thoughts and drawings in this book were made in the month of January, 1994, Hejduk explains, I wanted to make two architectures in love . . . to have architectural intercourse on every level...chromosomic exchange.The drawings are explained in his essay Sketchbook Notes, and Still Life/Dead Nature elucidates his thoughts about space. ↑ ↓ ↓

This book is an homage to the wisdom of potters and a journey into the depths of the ancient trade of pottery. Through beautiful imagery and delightful prose, the book explaines the wisdom of artisanal design and pottery’s important economical, social and identity-based roles. The book approaches pottery from a design perspective, touching on themes such as diversity in form, social contexts, funcionality, techniques and the challenges presented by modern times, providing us with the tools to understand pottery and potters in all their complexity. With a prologue by master ceramic artist, Gustavo Pérez, and photos by Paris Barrera. For explorers, there is a detailed guide to visit the 70 pottery villages presented in the book, with maps and directions. ↑ ↓ ↓

Eine bittere Liebesgeschichte/Abhandlung vom Überleben als Künstler*in in aktivistischen Zusammenhängen. ↑ ↓ ↓

In these essays, the acclaimed artist, photographer, writer, and filmmaker Moyra Davey often begins with a daily encounter - with a photograph, a memory, or a passage from a book - and links that subject to others, drawing fascinating and unlikely connections, until you can almost feel the texture of her thinking. While thinking and writing, she weaves together disparate writers and artists - Mary Wollstonecraft, Jean Genet, Virginia Woolf, Janet Malcolm, Chantal Akerman, and Roland Barthes, among many others - in a way that is both elliptical and direct, clearheaded and personal, prismatic and self-examining, layering narratives to reveal the thorny but nourishing relationship between art and life. ↑ ↓ ↓

Minor Detail begins during the summer of 1949, one year after the war that the Palestinians mourn as the Nakba – the catastrophe that led to the displacement and expulsion of more than 700,000 people – and the Israelis celebrate as the War of Independence. Israeli soldiers capture and rape a young Palestinian woman, and kill and bury her in the sand. Many years later, a woman in Ramallah becomes fascinated to the point of obsession with this ‘minor detail’ of history. A haunting meditation on war, violence and memory, Minor Detail cuts to the heart of the Palestinian experience of dispossession, life under occupation, and the persistent difficulty of piecing together a narrative in the face of ongoing erasure and disempowerment. ↑ ↓ ↓

Stickers presents itself as a genre of artist books on its own. The book demonstrates Anna M. Pasco Bolta’s works, including various techniques, within the genre of stickers, and explores the idea how objects can exist in two states: as objects themselves, and as their images. Every copy of the edition is unique and overflowing with stickers waiting to be stuck on. The stickers act as a medium for displaying all content: artwork, text, sponsor logos, ISBN and barcodes, giving a certain autonomy to the images. Thus, Stickers is a changing and pluralistic platform that allows an approach from the audiences individual point of view to Pasco’s work and emphasizes the importance of action and interaction for the perception of reality. ↑ ↓ ↓

Audre Lorde (1934-92) described herself as ‘Black, lesbian, mother, warrior, poet’. Born in New York, she had her first poem published while still at school and her last the year she died of cancer. Her extraordinary belief in the power of language – of speaking – to articulate selfhood, confront injustice and bring about change in the world remains as transformative today as it was then, and no less urgent. This edition brings Lorde’s essential poetry, speeches and essays, including ‘The Master’s Tools Will Never Dismantle the Master’s House’, together in one volume for the first time. ↑ ↓ ↓

Dieses INTRO befasst sich mit den von den Critical Whiteness Studies vorgeschlagenen politischen Strategien, um Rassismus nicht nur theoretisch zu erklären sondern aktiv zu bekämpfen. Den Hintergrund dazu bildet die Kategorie des »Weißseins« als normatives und normalisiertes »eigenes« Gegenstück zum beziehungsweise zur nicht-weißen »Anderen«. Es werden sowohl die grundlegenden theoretischen Zugänge dargestellt als auch die politischen Strategien untersucht, mit denen sich eine kritische Theorie in antirassistische Praxis umsetzen lässt. Der Fokus liegt dabei auf den Schriften der New Abolutionists, die die These vertreten, dass es möglich sei, »Weißsein« freiwillig abzulegen. Des Weiteren wird die Frage behandelt, welche Problematiken bei der Übersetzung der im US-amerikanischen Raum entwickelten Theorie in einen europäischen, insbesondere in einen deutschsprachigen Kontext zu beachten sind. Diese Einführung soll weniger klare und eindeutige Antworten auf politische Fragen geben, sondern vielmehr dazu beitragen, die Critical Whiteness Studies auf ihre politischen Inhalte hin zu untersuchen und kritisches Nachdenken über rassissierte Kategorien zu unterstützen. ↑ ↓ ↓

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. ↑ ↓ ↓

In einer großartigen Entdeckungsreise nimmt uns der vielfach ausgezeichnete britische Autor Robert Macfarlane mit in die dunkle, überraschende Welt unter der Erde. Er führt uns in Höhlenlandschaften in England und Slowenien, zu einem unterirdischen Fluss in Italien, in den Untergrund von Paris, die schwindende Gletscherwelt Grönlands und, zuletzt, in einen Stollen für Atomabfälle, der die nächsten 100.000 Jahre überdauern soll. Sein Buch ist viel mehr als eine fantastische Natur- und Landschaftsgeschichte: Eindringlich schildert er das Wechselspiel zwischen Mensch, Natur und Landschaft – nicht zuletzt als Mahnung, was wir durch unsere Eingriffe zu verlieren drohen. ↑ ↓ ↓

Sandra Mujinga’s recent exhibition at Bergen Kunsthall presented a large-scale video installation together with a selection of sculptural works and photographs. Drawing on Afro-futurist strategies, the exhibition investigated concepts of invisibility as survival strategies, both as a speculative gaze at the future and in relation to the political reality of our time. The exhibition was Mujinga’s largest solo-presentation to date and will also be on view at Vleeshal, Middelburg, 20.9 – 13.12.2020. This book includes a specially produced visual essay, conceived as an animation in book form. The images are stills from footage captured of an elephant outside of Johannesburg, digitally treated and presented as a series of close-ups of the elephant’s skin. The publication features contributions by Sandra Mujinga, Wong Bing Hao, Tamar Clarke-Brown, Olamiju Fajemisin and Jessica Lauren Elizabeth Taylor and has been has been designed by Studio Manuel Raeder. Published by BOM DIA BOA TARDE BOA NOITE, Bergen Kunsthall and Vleeshal. ↑ ↓ ↓

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 is the fifth book in the historic series created for children by Munari in 1945. Alfonso, the thoroughly likeable green magician, disappears and reappears in trunks and boxes. At the end he finally manages to play his violin in peace. ↑ ↓ ↓

This book is one of the reprints of the exceptional books for children created by Munari in ’45, which are still as fresh and new as ever. Toc toc is perhaps the best known and most representative of the series. As with the other books, Munari plays with an essentially visual story full of expectations and surprises created using the simplest of devices. Toc toc (knock knock) … and a door opens. ↑ ↓ ↓

When it gets dark, it's time to go to bed for everyone. But where do all the animals go find a shelter? Good night to everyone is one of the eight books of the historic 1945 series by Munari. He devised these lively books/albums for children using large pictures, pages and inserts of different sizes and varying holes to arouse the curiosity of the observer and let him literaly hang at each page. ↑ ↓ ↓

Where did the colorful balls disappeared? And the rabbit? And the three of Hearts? Together with other eight albums, The yellow conjurer is part of the historic 1945 series created by Munari. He devised these lively books/albums for children using large pictures, pages and inserts of different sizes and varying holes to arouse the curiosity of the observer and let the reader literally hang at each page. ↑ ↓ ↓

How happened that Chì, Chià and Chiò ended up in a cage? Munari tells a story that will make us desire to open all those cages and make these little birds free again. A tale of three little birds is one of the eight books of the historic 1945 series. Munari devised these lively albums for children using large pictures, pages and inserts of different sizes and varying holes to arouse the curiosity of the observer and let him litteraly hang at each page. ↑ ↓ ↓

In 1979 Munari donated part of his personal archive to the CSAC in Parma: a sort of encyclopedic collection of solutions for possible answers. From the very first drawings for abstract paintings in the Thirties to the studies for the Negativi-positivi, to the sketches for publishing graphics, to the series of the original editions of his games: a rich collection of Munari’s projects, many of them previously unpublished, which help understand Munari’s poetics “behind the scenes”. From the Bauhaus to Piaget’s psychological theories, Munari assimilated many visual and conceptual trends of the XXth century, re-proposing them in a very new and original creative richness. As it has been said, he “burns” a quantity of principles, each one of them could hold up a whole artistic life. From this collection is born an accurate and complete publication, an instrument with lots of cues and informations to know Munari before his works, through the projects. The book includes: A systematic essay by Gloria Bianchino, director of the CSAC, about Munari’s project poetics seen through his most important works; the “historical” essays written in 1979 on the occasion of the exhibition Bruno Munari at the CSAC in Parma: an introduction by Giulio Carlo Argan and a detailed interview to Munari by Arturo Carlo Quintavalle. Also, a rich collection of more than 500 colour images from the Bruno Munari Fund in the CSAC Archive with the corresponding index cards and a bibliography of the most important publications about Bruno Munari’s works. This book is published on the occasion of Minimondi – 8th edition of the children’s literature and illustration festival (15th February – 9th March 2008) in Parma and province. It is also the catalogue of the exhibition Bruno Munari: il disegno, il design. The Bruno Munari Fund in the CSAC Archive at the Salone delle Scuderie of the Palazzo della Pilotta in Parma from 16th February to 30th March 2008. ↑ ↓ ↓

Page after page Bruno Munari shows us a world hidden in the stones, populated by characters drawn along the stone’s lines and veins. While smiling at a monkey grabbed at the lianes-streaks we understand that the point of view can change a lot our perception of reality: a complex and philosophical theme tackled through a simple joke. An important book to see less and watch a little bit more. ↑ ↓ ↓

ANTHROPOLOGICAL ESSAYS ON VERNACULAR BUILDING MATERIALS IN PORTUGAL ↑ ↓ ↓

This book is considerad a classic in Middle East vernacular architecture. This work, published in 1981 by the MIT Press, shows up in a new revised and extended edition. The content remains a necessary reference,dueto its extraordinary documentary value, that includes the content of the first edition and completes it with material collected in 2006, giving now a global vision of the unified Yemen territory. ↑ ↓ ↓

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. ↑ ↓ ↓

A very unusual salesman offers us a series of exotic creatures with odd habits: from a pipe-smoking flamingo to a tipsy armadillo. The finale holds a big surprise! ↑ ↓ ↓

Gigi’s looking for his cap. Where can it be? Let’s help him find it by opening closet doors, lifting lids and looking around. A book to rummage through, like an attic or a messy bedroom, with direct and captivating pictures drawn over half a century ago. Ah! Gigi finds his cap in the end! ↑ ↓ ↓

10 km. And for everyone a different means of transport and an "unexpected event" that slows down delivery of the present. What’s inside the parcel? Another addition to the series for children, thought up by Bruno Munari in1945 and still amazingly modern! ↑ ↓ ↓

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The box set publication No more racing in circles – just pacing within lines of a rectangle is Tris Vonna-Michell’s reflection on the impact of performing several narrations during a concentrated timespan over a number of years. The package contains forty-four sheets printed on a Heidelberg offset press, while the accompanying colophon introduces each sheet in the box set; together they represent the performative aspect of Vonna-Michell´s practice in the form of score and transcription. No more racing in circles – just pacing within lines of a rectangle addresses several time markers in Vonna-Michell’s practice as well as the durational aspect of writing and performing. Limited edition artist’s box set of 200 copies containing forty-four loose pages ↑ ↓ ↓

DISCULPE. On bus travel, the cycle of gifting and counter-gifting and a quest for meaning. During their performances travelling on the city busses of Medellín and Bogotá, the hawkers locally known as “vendedores ambulantes” dish out compliments and pleasantries to their audience, as well as excessive apologies and gratitude. As these busses are flagged down by prospective travellers along the route, they face the crowd with all of their spectators already conveniently seated in front-facing rows. The vendors practice something that may be loosely described as “rebusque”, or “the quest for what makes a life”. What this boils down to is making money with whatever is readily available: chocolate bars, ballpoint pens, music or stories. The German-Colombian artist Jan Lotter Benavides has collected 65 such scenes in his unpretentiously laid out, heartfelt small-format book. Titled DISCULPE, it revolves around his clear and knowledgeable transcripts of recordings he made secretly while in Colombia on a travel scholarship from Hessische Kulturstiftung, the Cultural Foundation of the State of Hesse (Germany). It quickly becomes clear that the “vendedores” provide more than just a show, and that the audience gives them more than just small change; in fact, it is about much more than surplus value. In the ethos becoming apparent here we begin to witness a cycle of gifting and counter-gifting that marks the entire practice out as an act of existence rather than one of subsistence. Life is remembered, imagined and narrated as something that is by necessity shared. The bus is then turned into a theatre of a common symbolic space, and it is on this stage that something akin to catharsis becomes possible. ↑ ↓ ↓

In the 1970s, José Ortega (alias Morelos) and his brother began traveling from their home in the Peñón de los Baños neighbourhood of Mexico City to Colombia with hopes of finding cumbia records and bringing them back to Mexico. Driven by their passion for tropical music and small outdoor sound systems, in junction with their adventurous spirit, they visited Colombia and other regions of Central and South America. There they found records that would be useful to the owners of the sound systems – the sonideros – in Mexico. Two years ago, Morelos invited Mirjam Wirz and Carlos Icaza, a Mexican musician and investigator, to join him and document his travels. On three separate trips, they retraced Morelos’ route, recollections, and personal connections. With Morelos, the hub and anchor of this story, they worked to discover the origins of cumbia and the sonidero movement throughout Mexico. Ojos Suaves/Soft Eyes is the result of these trips and a sample of relevant material: photographs, transcriptions of talks with various key figures, and some documents from their private collections. ↑ ↓ ↓

SOBRE EL RÍO (PASSAGE) – tells of a journey along the lower Magdalena river in Colombia in search of the origins of cumbia music – and it is the sixth volume in an onging publication series about cumbia music and sound systems in Latin America edited by the Swiss artist Mirjam Wirz. The books contains photographs, extracts of conversations with musicians, composers and people connected to the river, and poetic texts written after the journey, remembering encounters, situations and landscapes. The Magdalena river marks the birthplace and distribution system for cumbia music, which in its beginnings, dating back to the colonial era, was a prohibited ritual dance and one of the ways in which the indigenous and African populations interacted. Musically, it is made up of a combination of African rhythms, indigenous instruments, and Spanish lyrics. Since the 1950s cumbia has spread beyond Colombia to the working class neighborhoods in Latin America, taking on local specifics at each place. The Magdalena river stands for one of the many rivers in the world which acted as distribution channels and spread music throughout countries – and of water cultures, located along the rivers, which have absorbed very different influences from the interior of the country and from the world, making them multifaceted and thoroughly mixed, which is evident in the music as well. ↑ ↓ ↓

This publication documents the exhibition “Ne voulais prendre, ni forme, ni chair, ni matière” by Daniel Steegmann Mangrané at the Institut d'Art Contemporain de Villeurbanne, France in 2019. The catalogue includes first translations into French of the poems of Stela do Patrocínio, a Brazilian outsider poet who has longly inspired the artist in his research. Daniel Steegmann Mangrané has created a polymorphous work (drawing, sculpture, film, installations, etc.). His arrival in Brazil in 2004 was motivated by his fascination for the Amazonian forest – as a child he wanted to be a biologist, an entomologist or a botanist – as well as his discovery of Brazilian artists, Lygia Clark and Hélio Oiticica. Beginning at end of the 1950's, for the founders of the Neo-Concrete movement, intuition, subjectivity and public participation managed to reconcile outdated dualisms, starting with the commonly acknowledged opposition between object and subject. Also nourished by anthropology and the poems of Stela do Patrocínio, one of which inspired the title of this exhibition; in his work Daniel Steegmann Mangrané mixes natural and cultural forms. He explores how the living is entangled with its environment, experimenting with space as an area of the sensitive and of relationships. Impregnated by the Amerindian perspective of anthropologist Eduardo Viveiros de Castro – who blurs the distinction between human and non-human – and by the thinking of Philippe Descola who strives to go beyond the Nature-Culture dualism, Daniel Steegmann Mangrané intends to totally and profoundly transform the space of the IAC. And so, the path of the exhibition generates new vanishing lines, changing perspectives which open out towards the exterior. Defined by a sensitive geometry, driven only by rays of natural light that penetrate the gloom, it encourages exploration and groping and fumbling, as if willing visitors to rediscover the essence of the living itself. This path through the exhibition also translates the artist's fascination for the notion of dissolution, a dissolution of the subject which is likely to lead to an awareness of its surroundings. ↑ ↓ ↓

When Mette Winckelmann moved from Copenhagen K, a city center area, to Copenhagen N, near Nørrebros Runddel, her eyes immediately caught the strip of clothing stores that is a landmark of this specific area. One of them is LAILA UTI, located on Nørrebrogade 82. The lettering on the facade suggested that a B and a K were once part of the store’s name: LAILA UTI used to be LAILA BUTIK. Perhaps, at one point, the store even presented as LAILA UTIK or LAILA BUTI, that is if the letters did not go missing at the same time. Either way, the change of name also changed the store’s character and identity, if only in how its name is pronounced. Loss and letting go is also part of the history of the actual the book. The documented objects fade into each other in digital layers, creating new potentials in the absence of the letter Y (and consequently the colour yellow) in CMYK. LAILA UTI is published on the occasion of the exhibitions with the same name by the artist Mette Winckelmann at Viborg Kunsthal, and LAILA UTI / ULLA TILA at Augustiana in Denmark in 2019-2020. It contains, among other things perspectives on transformations, actions, paintings, clothing, architecture, patchwork, textile, scenography, building materials, concrete, patterns and layers. ↑ ↓ ↓

Frantz Fanon's seminal work on the trauma of colonization, The Wretched of the Earth made him the leading anti-colonialist thinker of the twentieth century Translated from the French by Constance Farrington, with an introduction by Jean-Paul Sartre Written at the height of the Algerian war for independence from French colonial rule and first published in 1961, Frantz Fanon's classic text has provided inspiration for anti-colonial movements ever since, analysing the role of class, race, national culture and violence in the struggle for freedom. With power and anger, Fanon makes clear the economic and psychological degradation inflicted by imperialism. It was Fanon, himself a psychotherapist, who exposed the connection between colonial war and mental disease, who showed how the fight for freedom must be combined with building a national culture, and who showed the way ahead, through revolutionary violence, to socialism. ↑ ↓ ↓

Der Asylantrag in Deutschland war ein Neuanfang für Laurence. Endlich glaubt er, seine Formel fürs Überleben gefunden zu haben, doch dann verschwindet sein Freund auf mysteriöse Weise. Als die Leiche, bis zur Unkenntlichkeit verkohlt, auftaucht, beginnt eine Suche nach den Verantwortlichen. Laurence ist gezwungen, einen neuen, kritischen Blick auf die Stadt zu werfen, die er so gern sein Zuhause genannt hätte. „The Most Unsatisfied Town“ basiert auf der wahren Geschichte von Oury Jalloh. ↑ ↓ ↓

As part of the 50th anniversary of the Calouste Gulbenkian Museum, the exhibition Art on Display explores the display solutions found for the opening of the Museum in 1969 and focuses more generally on the design of museums and exhibitions at that time. The catalogue accompanying the exhibition opens with a curatorial note explaining the aims and characteristics of the exhibition, taking into account that it is held at the Calouste Gulbenkian Foundation in Lisbon and at Het Nieuwe Instituut in Rotterdam at different times. In addition, the catalogue reflects the dual objective of exploring both exhibition design at the Gulbenkian Museum and other significant examples of post-war international museography, as the essays written by each curator of the exhibition reveal: Penelope Curtis analyses the relationship between the Museum and exhibition design in other countries, especially the designs developed by Franco Albini, while Dirk van den Heuvel explores the exhibition as an urban space in the work of Aldo van Eyck, Alison and Peter Smithson and Lina Bo Bardi. The five case studies following these two texts provide greater detail about the projects that the exhibition aims to recreate: Palazzi Bianco and Rosso by Franco Albini, Museo Correr by Carlo Scarpa, First and Second International Exhibition of Experimental Art and Fifth International Sculpture Exhibition by Aldo van Eyck, Painting & Sculpture of a Decade 54-64 by Alison and Peter Smithson and the Museu de Arte de São Paulo by Lina Bo Bardi. Both the essays and the case studies are amply illustrated with drawings and archive photographs of the exhibitions cited, as well as with views of the exhibition at the Gulbenkian Museum. ↑ ↓ ↓

From the book's cover: "By reactivating the 1971 Portuguese version of Aimé Césaire's text _Discours sur le colonialisme_ through the reproduction of a facsimile of the original publication together with a copy of the censor's report and her own notes, Filipa César traces a complex course between past and present encapsulated in the clandestine existence and public absence of the publication in Portugal." Published on the occasion of the exhibition 1975, Madam Luxembourg in 2012. ↑ ↓ ↓

During ‘wonder, wander’, a collective walk across Jordan organized by the Spring Sessions annual artist residency, Thomas Amouyal, Sara Elkamel and Charlotte York arrived in Wadi Rum, welcomed by a ruthlessly dry heat. One morning in the red desert, they improvised a workshop where they gave the rest of the group a series of drawing and writing prompts. The collaboration sparked the idea for The Ex-Clown, The Fan, The Stranger, and I, a book that proposes 161 prompts to draw and write. The trio wrote it in September 2018 on the Greek island of Tinos—in between visits to a green beach—with the generous encouragement and contribution of Spring Sessions curators Noura Al Khasawneh and Toleen Touq and the ‘wondering, wandering’ artists present on the island: Hanaa Safwat, Kari Rosenfeld, Raymond Gemayel, Gian Spina Nuno Cassola, Parastoo Anoushahpour, Noura Salem, Melika Abdel Razzak and Soraya Ghezelbash. The publication was designed by Åbäke, translated into Arabic by Yasmine Zohdi, proofread by Habiba Effat, published by Dent-De-Leone and produced with support by The Mohammad and Mahera Abu Ghazaleh Foundation (MMAG). Imagined as a generative tool for artists and educators, the book prompts its users to make drawings and write texts that respond to everyday objects, imaginary characters, as well as physical and celestial bodies. As they create stories of their own, there’s an invitation for the book’s users to engage with the mundane, the absurd and the profound. ↑ ↓ ↓

Taking as its starting point Robin Fior’s personal collection, which was recently donated to the Calouste Gulbenkian Foundation’s Art Library, the exhibition Robin Fior. Call to Action/Abril em Portugal brings together, for the first time, objects conceived by the graphic designer both in England and Portugal, between the 1960s and the 1980s. The publication that accompanies the exhibition includes the contribution of Robin Kinross, author and editor of several essays and publications on visual communication and typography. His essay explores the beginning of Fior’s career and his English period, as well as his connection to the anti-nuclear campaign and his link to left-wing political movements. ↑ ↓ ↓

Naufus Ramírez-Figueroa: Requiem for Mirrors and Tigers catalogues the trajectory of a cycle of performances of the same name, through which the artist Naufus Ramírez-Figueroa attempted to exhaust his interest in the Guatemalan Civil War as a recurring subject of his work. Designed by Studio Manuel Raeder and published by If I Can’t Dance with BOM DIA Books, the publication documents the six performances in the cycle via foldout colour posters of each work, and an essay by Frédérique Bergholtz and Susan Gibb which offers descriptions of each performance alongside a reflection on the cycle as a whole. ↑ ↓ ↓

I For Idiot functions as an extension of the film Avenida Progreso in the sense that it assembles three different perspectives: a philosopher’s, an ethnologist’s and a film theorist’s, and juxtaposes these with some of the external layers of reality that have in one way or another informed the film. The purpose of this exercise, is to further consider the potential of dialectic time as a tool for collapsing linear narratives and analyzing the relation between speed, history and the distribution of knowledge in information based societies. The book was published on the occasion of the exhibition Avenida Progreso by Mauricio Gullién at the MMK Museum für Moderne Kunst, Zollamt, Frankfurt am Main (2012). ↑ ↓ ↓

We are almost constantly surrounded by architecture, but we barely perceive it. Yet it has a major impact on our thought and actions – sometimes obviously, but usually unconsciously. The Colombian artist Gabriel Sierra is interested in precisely this psycho­logical dimension of architecture. He aims to create an experiment that explores the intricate relation in between reality and perception. After all, built spaces are repositories for ideas, fears, and convictions; they are full of ambitions, traces, and future experiences, and possess multiple layers of time. Hardly any other experience demonstrates this as strikingly as déjà-vu, when we witness a moment as if it had already occurred. During a moment of déjà-vu, the present is transported backward in time; in it, the past, the future, and the present merge into a magical second that is both euphoric and unsettling. This publication has been published on the occasion of Sierra’s exhibition, Before Present, at Kunsthalle Zürich, that is dedicated to this unfathomable and uncanny Before Present. ↑ ↓ ↓

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. ↑ ↓ ↓

Uranus, the frozen giant, is the coldest planet in the solar system as well as a deity in Greek mythology. It is also the inspiration for uranism, a concept coined by the writer Karl Heinrich Ulrich in 1864 to define the “third sex” and the rights of those who “love differently.” Following Ulrich, Paul B. Preciado dreams of an apartment on Uranus where he might live beyond existing power, gender and racial strictures invented by modernity. “My trans condition is a new form of uranism,” he writes. “I am not a man. I am not a woman. I am not heterosexual. I am not homosexual. I am not bisexual. I am a dissident of the gender-sex binary system. I am the multiplicity of the cosmos trapped in a binary political and epistemological system, shouting in front of you. I am a uranist confined inside the limits of technoscientific capitalism.” This book recounts Preciado's transformation from Beatriz into Paul B., but it is not only an account of gender transitioning. Preciado also considers political, cultural, and sexual transition, reflecting on issues that range from the rise of neo-fascism in Europe to the technological appropriation of the uterus, from the harassment of trans children to the role museums might play in the cultural revolution to come. An Apartment on Uranus is a bold, transgressive, and necessary book. ↑ ↓ ↓

Eine Geschichte von Armin Krämer zu Bildern von Kai Althoff. ↑ ↓ ↓

Eric Mindling, a self-defined potterologist has explored Oaxaca and its 70 plus pottery villages for more than twenty years. This experience has become Fire and Clay – The Art of Oaxacan Pottery, a panoramic vision of the past, present and future of Oaxacan pottery. ↑ ↓ ↓

A new wave of artistic activism has emerged in recent years in response to the ever-increasing dominance of authoritarian neoliberalism. Activist practices in the art field, however, have been around much longer. As Oliver Marchart claims, there has always been an activist undercurrent in art. In this book he traces trajectories of artistic activism in theater, dance, performance, and public art, and investigates the political potential of urbanism, curating, and “biennials of resistance.” What emerges is a conflictual aesthetics that does not conform with traditional approaches to the field and that activates the political potential of artistic practice. Oliver Marchart is a political theorist and philosopher. He is currently professor of political theory at the University of Vienna. His books include Post-foundational Political Thought: Political Difference in Nancy, Lefort, Badiou and Laclau (2007), Thinking Antagonism: Political Ontology after Laclau (2018), and the forthcoming Post-foundational Theories of Democracy: Reclaiming Freedom, Equality, Solidarity. ↑ ↓ ↓

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. ↑ ↓ ↓

The problem with coloring books is that they seem to be more about filling time rather than a page. It’s as if they suggest that there is no negotiation involved in the processes which give shape to things on paper, or the subjects they depict. Shouldn’t geometry, scale and proportion be as wild on paper as they are in the wild? This small book is not about censorship, nor is it explicitly about the colouring-in of vegetables: the full-page figures from Maxwell Tylden Masters’s Vegetable Teratology: An Account of the Principal Deviations from the Usual Construction of Plants (1869) are not bound to botany. As abstract illustrations they function as an exploration into morphological occurrences, rejecting the goal-oriented, the figurative, and the categorical. Following a traditional format, the Vegetable Teratology Colouring Book (edited by Nina Canell & Robin Watkins) attempts to open up a creative bypass, embracing the multitude of forms that may emerge as a pear or plum. Time then to draw out the possible colors of fruit to come. In the publication, Masters’s botanical illustrations have been contextualised by a glossary, image captions, and a short text by Robin Watkins. ↑ ↓ ↓

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. ↑ ↓ ↓

For the last few months these pictures have been my monsters oft he week. They form the consequences oft he decisions I have taken and these consequences have an afterlife of consequences, which I have had to face. So, I accepted the fate that these fictions of mine have become truth – and more – actual materializations; that I have, from the depth of my windowless studio, unleashed another artwork upon a world already crowded with others.“ The publications includes works by Henning Bohl shown at Kunsthalle Nürnberg, Pro Choice / L’Ocean Licker, Galerie Meyer Kainer, Casey Kaplan, published on the occasion of the exhibition held at Kunsthalle Nürnberg 2012 / 2013. ↑ ↓ ↓

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. ↑ ↓ ↓

The title of this book references a mythical peak where gods dwell ‘in the cold waste where no man treads’ described in H.P.Lovecraft’s ‘The Dream Quest of Unknown Kadath’ (1926/27). Lovecraft’s novel itself drew from William Beckford’s gothic horror ‘Vathek’ (1786), Robert W. Chambers’ ‘The King in Yellow’ (1895) and the novels and short stories of Lord Dunsany. Bohl’s drawings refer to a wide variety of popular and archetypal imagery familiar to him from his adolescence. They incorporate styles learned from, amongst others, Aubrey Beardsely, Métal Hurlant comic books and Blair Reynolds and other graphic artists associated with Pagan Publishing. As with his previous works, these drawings employ modest yet very specific materials. ↑ ↓ ↓

This booklet is a collection of texts on the work of Michael Pfrommer written by high-school students upon visiting the Portikus exhibition of his paintings in 2011. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

Nora Schultz’s work explores questions of the emergence of pictures and production as an artistic dynamic. She is more interested in the genesis of images and objects and its material traces than in the completed work. That is why the manufacturing process plays a central part in her prints, printing machines, installations, and performances and always remains recognizable as such. The book figures as a sort of retelling in which manhole cover stamp, die-stamping drum, paper, plastic, and aluminium sheet, camping mat, microphone sculpture, dictaphone, sound funnel, and print worm blithely continue their cycles of production. ↑ ↓ ↓

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). ↑ ↓ ↓

Nick Mauss’ artist’s book comes in the form of a postcard accordion with a wrap-around cover sleeve, reproducing artworks presented as part of his contribution to HERE AND NOW at Museum Ludwig: Transcorporealities, curated by Leonie Radine. Featuring works by George Brecht, Inge Schmidt, Jack Smith, Max Ernst, and Mauss, amongst others, this leporello recalls the juxtapositions and interrelationships among artworks and performers brought together within the permanent collections galleries of the Museum Ludwig for the duration of the exhibition, confounding representations of the body, the utterance, and the event. ↑ ↓ ↓

The publication, presenting the artist’s own classification system, is a congenial travel companion into the world of Michael Beutler’s artistic practice. It functions as a field guide and helps to decipher his heterogeneous production via its components, tools and production methods in relation to specific sites and situations. The texts give insight into the background story and construction of each work based on various specifications. ↑ ↓ ↓

An artist book with four visual poems by Emmett Williams including 'SOLDIER' and 'Fête Duchampêtre' printed in colour. An expansive book where Williams uses the space of over 200 pages to experiment with colour, typography and fragmentation of texts elegantly furthering the movement of a flip-book style form. ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

This book is a close collaboration between artist Jorge Méndez Blake, curator Rodrigo Ortiz Monasterio, and designer Santiago da Silva in the mutual interest on unfinished novels, libraries and the connections that can be made between literature and architecture. Não de China (China Boat) takes as a departure point José Juan Tablada’s writings, seeking the missing connections in order to produce a series of encounters and perspectives into his literature. By unraveling Tablada’s oeuvre, imagining his lost or unfinished works, this book attempts to give contemporary interpretations of some of the seminar themes in his work: Orientalism, the relation between literature and visual arts, and the creation of national identity through art and architecture. This book is written in English and Spanish. ↑ ↓ ↓

In this collection of stories and illustrations, Anna M. Szaflarski examines the subject of violence, in particular as it is experienced through the female body. Beginning with an autobiographical experience, the story triggers a dissociative state that plunges the book in and out of imaginary worlds and associative narrative threads. ↑ ↓ ↓

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. ↑ ↓ ↓

Dogs Devouring Dead Horses was a collaboration between the artist Runa Islam and the designer Manuel Raeder subsequent to the exhibition she held at the Museum of Modern Art in New York (Projects 95, 2011). The artist provided Raeder with stills from four films on display: Emergence (2011), This Much Is Uncertain (2009–2010), Magical Consciousness (2010) and The House Belongs to Those Who Inhabit It (2008). And Raeder, according to the introduction by Milovan Farronato, „gave back to Islam a ‘sculpture in print’ that does not just document the exhibition and offer a view of the three newer works on display, but draws upon the concepts underpinning the exhibition and the work of the filmmaker.“ ↑ ↓ ↓

Do we think that a stone is a cold and dead material or rather warm and vital? A Heart of a Stone is published as part of the installation by artist Ayami Awazuhara. The work consists of several elements arranged in various display structures. The book A Heart of a Stone is part anecdote, part fiction and part sculpture. It was developed in a collaboration with Santiago da Silva. ↑ ↓ ↓

Sur is a contemporary art journal published annually out of Mexico City. Both a publication and a series of invitations, Sur is premised on aesthetics of encounter, specifically between the writing, art, and ideas expressed in Latin American culture in relation to discourses, philosophies, and art generated elsewhere. ↑ ↓ ↓

Sur is a contemporary art journal published out of Mexico City twice a year. Both a publication and a series of invitations, Sur is premised on aesthetics of encounter, specifically between the writing, art, and ideas expressed in Latin American culture in relation to discourses, philosophies, and art generated elsewhere. Sur II invites artists, writers, and curators working in the Middle East and in Mexico to explore the rich, relatively uncharted history linking both places, especially around the notions of utopia and exile. ↑ ↓ ↓

Ana Navas explores the border between design and art. Playfully, she tries to track down the mechanisms of how design affects our consumption of goods and investigate the essence of the possibilities to assimilate art in a context-free environment. The catalogue published on the occasion of the first institutional exhibition by Ana Navas at Galerie der Stadt Sindelfingen continues her artistic research, which deals with phenomena such as memory, translation, interpretation and authorship and documents a wide exchange of images and ideas. A collection of photographs the artist received from friends and acquaintances provides an insight into how her work is influenced and understood by others under the motto ‘I had to think of you’. ↑ ↓ ↓

Rosetta is one of the most popular restaurants in Mexico City. Since its doors first opened in 2010, it has reinvented what a Mexican restaurant can be: through sincere, ingredient-based cuisine that both revives and challenges tradition; through its commitment to serving local and seasonal produce grown by small-scale, sustainable producers; and through its location and attention to detail, creating a vibrant and welcoming atmosphere. The first book by Elena Reygadas, chef and owner of Rosetta, is more than a cookbook. For one thing, she shares a selection of her recipes from the present and the past. But she also offers a series of reflections on many different topics: from the social and environmental impact of industrialized food, to personal recollections, to the history of little-known Mexican ingredients. ↑ ↓ ↓

Eamon Ore-Giron’s first artist book pairs paintings from his ongoing Infinite Regress series with original poetry by scholar Edgar Garcia, offering a rich linguistic and visual context for understanding Ore-Giron’s work. Rendered on raw linen, Ore-Giron’s brightly-hued paintings fuse the tradition of Peruvian goldwork with the geometries of hard-edged abstraction. His compositions evoke the cosmos and notions of an ancient global architecture, creating optical play and a multiplicity of planes on the canvas. Garcia has written “poetry thick with” abstraction, exploring the role of the formal and theoretical within Ore Giron’s work through his own research and work exploring the hemispheric literatures and cultures of the Americas. His “Tractatus” examines the apprehensibility of origins in their visual and poetic forms, and traces a contemporary conception of origins in the knot, fold, crushed stone, haunted bone, and constellation of everyday emergencies. ↑ ↓ ↓

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 ↑ ↓ ↓

The book accompanies Little animals, ash trays (a project by Rometti Costales in the CA2M Centro de Arte Dos de Mayo, Madrid) and functions as a compendium of distinct materials that revolve around their artistic practice of the last few years; at the same time it is an essential component of the project. The book is structured by a conversation between the artists and Juan Canela, curator and editor of the book, which provides space for a range of graphic materials and various contributions written specifically for it by Quinn Latimer, Yasmil Raymond, Elfi Turpin, Magalí Arriola, and Manuel Cirauqui. This book is written in English and Spanish. ↑ ↓ ↓

on distance is a volume of photographs by Heinz Peter Knes representing a small selection from his extensive archive of travel photography dating back to 2010. Unlike a conventional approach to a personal travel log the photos and their ordering reflect upon broader cultural themes driven by personal interests, desires, and chance. Knes, in conversation with Julie Ault, ordered the images according to subjective and associative categories influenced by Warburg’s “law of the good neighbor”, Warburg’s principal of library organization based on the exchange and mutual engagement between books placed next to each other, rather than classical groupings such as “fine art” or “photography.” on distance opens up a similar research into the possible languages that emerge within images. ↑ ↓ ↓

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. ↑ ↓ ↓

In 1986, four double-stelae were erected in Berlin as a part of the Marx-Engels-Forum, which display 144 photographs, showing the development of the working class. Commissioned by the state, filmmaker Peter Voigt and photographer Arno Fischer developed a formal translation for Marx’s and Engel’s philosophy of history. In line with their documentational focus, the two artists were concerned with demonstrating the historical situation of the international working class, its grief, and its overcoming. The photographs, compiled from archives worldwide, constitute the foundation of the project. The chosen motifs respond to historical events as well as figures, depict everyday life and illustrate “circumstances”. ↑ ↓ ↓

More than anything else about architecture, Tobias Engelschall is fascinated by transformation. Between the regularity and randomness of architectural development, the new always emerges from what already exists. Every Zustand—every state of affairs, condition, configuration, every image in this book—attests only to the outcome of transformation. In their juxtaposition, Tobias Engelschall’s “Sehschule” presents what cannot be seen. With its thematic focus and careful selection, this topography includes mostly buildings that likely would never have appeared again in an architectural book after their initial publication. The book shows an exuberant multiplicity of formal languages, where one or another of them may effectively attain a new, unexpected quality. The publication was generously funded by Stiftung Hermann Reemtsma, Hamburg. ↑ ↓ ↓

Was bedeutet es, in einer Welt, in der Weißsein als die selbstverständliche Norm gilt, nicht weiß zu sein? Reni Eddo-Lodge spürt den historischen Wurzeln der Vorurteile nach, und zeigt unmissverständlich, dass die Ungleichbehandlung Weißer und Nicht-Weißer unseren Systemen seit Generationen eingeschrieben ist. Ob in Politik oder Popkultur – nicht nur in der europaweiten Angst vor Immigration, sondern auch in aufwogenden Protestwellen gegen eine schwarze Hermine oder einen dunkelhäutigen Stormtrooper wird klar: Diskriminierende Tendenzen werden nicht nur von offenen Rassisten, sondern auch von vermeintlich toleranten Menschen praktiziert. Um die Ungerechtigkeiten des strukturellen Rassismus herauszustellen und zu bekämpfen, müssen darum People of Color und Weiße gleichermaßen aktiv werden – »Es gibt keine Gerechtigkeit, es gibt nur uns.« ↑ ↓ ↓

Mit der Veröffentlichung des von Präsident Macron beauftragten Berichtes zur Rückgabe des in französischen Museen befindlichen afrikanischen Kulturerbes entflammte im November 2018 sofort eine kontroverse Debatte, die weit über Frankreichs Grenzen hinausging und bis heute anhält. Nicht von ungefähr, zeigt die Untersuchung doch klar, dass ein großer Teil der afrikanischen Sammlungen in den ethnologischen Museen Europas gewaltvoll im Zuge des Kolonialismus oder durch die Übervorteilung der Einheimischen angeeignet wurde ‑ heute befinden sich ca. 90 Prozent des afrikanischen Kulturerbes außerhalb des Kontinents. Nötig ist eine radikale Revision der bisherigen Sammlungspraxis, die auch deutsche Museen und nicht zuletzt das geplante Humboldt Forum berührt. Die deutsche Übersetzung des hitzig diskutierten, aber nur wenig gelesenen Berichtes soll helfen, die Debatte um Geschichte, Restitution und die Zukunft der Museen, die hierzulande erst an ihrem Anfang steht, für die breite Gesellschaft zu öffnen und sie gleichzeitig zu versachlichen. Denn letztlich geht es um viel mehr: Die Debatte über die Rückgabe des afrikanischen Kulturerbes kann der Anstoß sein für ein neues Gespräch zwischen Afrika und Europa und möglicherweise ein erster Schritt hin zu einem neuen Verhältnis auf Augenhöhe. ↑ ↓ ↓

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. ↑ ↓ ↓

Hanna Saliba gilt als einer der innovativsten Gastronomieunternehmer Deutschlands. Sein Hamburger Lokal Saliba mit syrischer Küche strahlt weit über die Stadt hinaus und lädt ein zu märchenhaften kulinarischen Erfahrungen. Einige Gäste – der Hamburger Hans Hansen, der Münchner Gestalter Pierre Mendell und der Verleger –, haben zusammen mit Saliba das Konzept dieser Publikation entwickelt und bringen damit ihre Begeisterung für die arabische Küche, aber vor allem für die an Vielseitigkeit und Raffinesse nicht zu überbietenden Vorspeisen – die Mazza – zum Ausdruck. «Mit den Augen essen» ist wörtlich zu nehmen. Die arabische Kalligrafie ergänzt den Augenschmaus und macht das Buch zu weit mehr als einer Anleitung für Hobby- und Berufsköche. ↑ ↓ ↓

Throughout the twentieth century, Isamu Noguchi was a vital figure in modern art. From interlocking wooden sculptures to massive steel monuments to the elegant Akari lamps, Noguchi became a master of what he called the "sculpturing of space." But his constant struggle—as both an artist and a man—was to embrace his conflicted identity as the son of a single American woman and a famous yet reclusive Japanese father. "It's only in art," he insisted, "that it was ever possible for me to find any identity at all." In this remarkable biography of the elusive artist, Hayden Herrera observes this driving force of Noguchi's creativity as intimately tied to his deep appreciation of nature. ↑ ↓ ↓

Those who feel the truth of 14th century German theologian Meister Eckhart’s words, “When the soul wants to experience something she throws out an image in front of her and then steps into it,” might do well to consider Franck André Jamme’s latest book, Tantra Song: Tantric Painting from Rajasthan from this point of view. It is an evocation of the image as a threshold leading to new dimensions of meaning, a revelatory understanding that some images are more than mere data; they are instead vital seeds, living carriers of possibility. ↑ ↓ ↓

Every living thing has two bodies. To be an animal is to be in possession of a physical body, a body which can eat, drink and sleep; it is also to be embedded in a worldwide network of ecosystems. When every human body has an uncanny global presence, how do we live with ourselves? In this timely and elegant essay, Daisy Hildyard captures the second body by exploring how the human is a part of animal life. She meets Richard, a butcher in Yorkshire, and sees pigs turned into boiled ham; and Gina, an environmental criminologist, who tells her about leopards and silver foxes kept as pets in luxury apartments. She speaks to Luis, a biologist, about the origins of life; and talks to Nadezhda about fungi in an effort to understand how we define animal life. Eventually, her second body comes to visit her first body when the river flooded her home last year. The Second Body is a brilliantly lucid account of the dissolving boundaries between all life on earth. ↑ ↓ ↓

Brazilian artist Lygia Pape was a founding member of the Neo-Concrete movement, which was dedicated to the inclusion of art into everyday life. Her early work developed out of an interest in European abstraction, however, she and her contemporaries went beyond simply adopting an international style, and started to draw on their own local situation. Neo-Concretism is often seen as the beginning of contemporary art in Brazil, and Pape's work—which focus on the coming together of aesthetic, ethical, and political ideas—has formed an important part of Brazil's artistic identity. ↑ ↓ ↓

In Not to Read, Alejandro Zambra outlines his own particular theory of reading that also offers a kind of blurry self-portrait, or literary autobiography. Whether writing about Natalia Ginzburg, typewriters and computers, Paul Léautaud, or how to be silent in German, his essays function as a laboratory for his novels, a testing ground for ideas, readings and style. Not to Read also presents an alternative pantheon of Latin American literature – Zambra would rather talk about Nicanor Parra than Pablo Neruda, Mario Levrero than Gabriel García Márquez. His voice is that of a trusted friend telling you about a book or an author he’s excited about, how he reads, and why he writes. A standard-bearer of his generation in Chile, with Not to Read Alejandro Zambra confirms he is one of the most engaging writers of our time. ↑ ↓ ↓

This book, the first critical study of Jean-Luc Moulène's work, brings together leading scholars to examine the artist's diverse aesthetic strategies and interests in the relationships between social and political arenas and systems and orders, including geometry, mathematics, social sciences, and human behavior. Featured essays also examine Moulène's theoretical and playful inquiries into the plasticity of materials and the ways we see and understand both still and moving images. ↑ ↓ ↓

In seinem Buch untersucht Achille Mbembe ein Phänomen, das sich in unserem globalen Zeitalter ständig rekonfiguriert: die Feindschaft. Ausgehend von den psychiatrischen und politischen Einsichten Frantz Fanons, zeigt Mbembe, wie als Folge der Konflikte um die Entkolonialisierung des 20. Jahrhunderts der Krieg – in Gestalt von Eroberung und Besatzung, von Terror und Revolte – zur Signatur unserer Zeit geworden ist. Als auf Dauer gestellter Ausnahmezustand führt er zur Erosion der liberalen Demokratie. Mbembes hochaktueller Essay spürt der Konsequenz dieser Erosion nach: der Ausbreitung autoritärer Regierungsformen. Er beschreibt die Bedingungen, unter denen heute die Fragen zum Verhältnis von Recht und Gewalt, Normalität und Ausnahmezustand, Sicherheit und Freiheit gestellt werden. Mit Blick auf die globalen Migrationsströme und das damit einhergehende unvermeidliche Zusammenwachsen der Welt formuliert er eine scharfe Kritik am atavistischen Nationalismus und plädiert für eine neue Politik der Humanität. ↑ ↓ ↓

Die Hexe ist tot, ermordet – aber hat sie’s nicht genau so gewollt? Sprachgewaltig, schmutzig und mit der Sogkraft eines Wirbelsturms schreibt Fernanda Melchor, eine der wichtigsten jungen Stimmen Lateinamerikas, über die viel zu alltägliche Gewalt gegen Frauen. La Matosa, eine gottverlassene Gegend in der mexikanischen Provinz. In der brütenden Hitze bewegt sich eine Gruppe von Kindern durchs Zuckerrohrdickicht. Zwischen Plastiktüten und Schilf stoßen sie auf eine Tote, ihr Gesicht ist zu einer grausig lächelnden Grimasse entstellt: La Bruja, die Hexe, eine von den Dorfbewohnern so gefürchtete wie fasziniert umkreiste Heilerin. Manche sagen, in ihrer schwefligen Küche braue sie Tränke gegen Krankheit und Leid, andere sagen, die Alte treibe es mit dem Teufel. An Mordmotiven fehlt es nicht: Eifersucht, Drogenhandel, Leidenschaften, die besser nicht ruchbar werden – und hat die Hexe nicht doch einen Schatz versteckt? Selbst die Polizei sucht nach dem Geld … »Saison der Wirbelstürme« ist die Chronik dieses unvermeidlichen Todes und zugleich die schwindelerregende Reise ins finstere Herz eines Landes, das bis in den letzten Winkel von Gewalt durchdrungen ist – vor allem gegen Frauen. Fernanda Melchor schafft eine brodelnde Atmosphäre, in der jede Geste der Zärtlichkeit im nächsten Augenblick in Brutalität umschlagen kann, gegen die kein Kraut, kein Zauberspruch mehr hilft. ↑ ↓ ↓

Now in paperback, this volume presents an overview of the legendary Canadian collective. Founded in Toronto in 1969 by Felix Partz, Jorge Zontal and AA Bronson, the trio adopted a generic identity that "freed it from the tyranny of individual genius." Their intermingling of reality and fiction took the form of a transgressive, often parodic take on art and society. Paintings, installations, sculptures, photographs, videos, magazines and TV programs: General Idea's is an authentically multimedia oeuvre that has lost nothing of its freshness. The book covers the collective's main themes, such as the artist and the creative process, glamour as a creative tool, art's links with the media and mass culture, architecture and archaeology, sexuality and AIDS. It is richly illustrated with documents and reproductions of key projects realized by General Idea from 1969 to 1994. ↑ ↓ ↓

Iman Mersal intricately weaves a new narrative of motherhood, moving between interior and exterior scapes, diaries, readings, and photographic representations of motherhood to question old and current representations of motherhood and the related space of unconditional love, guilt, personal goals, and traditional expectations. What is hidden in narratives of motherhood in fictional and nonfictional texts as well as in photographs? This is the fourth book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional. Iman Mersal is an Egyptian poet and associate professor of Arabic Literature and Middle Eastern Studies at the University of Alberta, Canada. ↑ ↓ ↓

Frantz Fanon wuchs im postkolonialen Martinique auf und arbeitete nach seinem Einsatz im Zweiten Weltkrieg als Arzt an psychiatrischen Kliniken in Frankreich und Algerien. Sein Thema ist vor diesem Hintergrund zu verstehen: In »Schwarze Haut, weiße Masken« rückt Frantz Fanon die psychische Dimension des kolonisierten Menschen, seine Erfahrung und Entfremdung, in den Mittelpunkt. Ursprünglich wollte er sein Buch »Essay über die Entfremdung des Schwarzen« nennen. Diese Entfremdung speist sich aus der kolonialen Situation, die einer »Konstellation des Deliriums« gleicht: Die Schwarzen, gefangen in der Position der Unterlegenheit, und die Weißen, gefangen in der der Überlegenheit, verhalten sich komplementär neurotisch. So wird die Welt der Weißen für die Schwarzen zum absoluten Maßstab und fortdauernd unerreichbaren Ziel. Zur theoretischen Reflexion setzt sich Fanon mit verschiedenen Philosophen (Marx, Hegel, Existenzialisten ...) und Psychoanalytikern (Freud, Jung, Adler, Lacan ...) auseinander. Von besonderer Bedeutung werden für die Ausarbeitung von Wahrnehmung und Selbstwahrnehmung Lacans Theorem des Spiegelstadiums und Sartres Phänomenologie des Blicks. Fanon engagierte sich später in der algerischen Unabhängigkeitsbewegung, radikalisierte sich politisch weiter und wurde posthum vor allem durch sein antikolonialistisches Manifest »Die Verdammten dieser Erde« (1961) bekannt. Erst in den 1980er Jahren wurde Fanons psychoanalytische Auseinandersetzung mit der Kolonialität wiederentdeckt. Der Text wurde in der Übersetzung von Eva Moldenhauer belassen, um die schon damals differenziert wiedergegebene Brutalität der Sprache (»Neger« - »Schwarze«) nicht durch heutige Regulierungen zu verschleifen. ↑ ↓ ↓

Wir können die extreme Armut in der Welt abschaffen: nicht erst in ferner Zukunft, sondern bereits in unserer Gegenwart. So lautet die Überzeugung von Jeffrey Sachs, eines der bedeutendsten Ökonomen der Welt. Er beschreibt in 18 Kapiteln anhand konkreter Beispiele, wie auch die Menschen der ärmsten Länder am wirtschaftlichen Wohlstand beteiligt werden können. Ausgehend von der ökonomischen und sozialen Lage in den verschiedensten Regionen zeigt Sachs den aktuellen Entwicklungsstand und zugleich Lösungsansätze für die verschiedenen Krisen auf. Sachs versteht es, lebendige Schilderungen seiner persönlichen Erfahrungen mit einer scharfen ökonomischen Analyse zu verbinden. Er zeigt, dass der Kampf gegen die Armut nicht nur eine moralische Verpflichtung ist, sondern auch existenzielle Bedeutung für die reichen Volkswirtschaften hat. ↑ ↓ ↓

Algerien zur Zeit des französischen Kolonialregimes. Der Schleier – ein »totes«, da kulturell unhinterfragtes Kleidungsstück – wird zum Stein des Anstoßes und erhält eine völlig neue Dynamik. Seine Trägerin sieht, ohne gesehen zu werden. Auf individueller Ebene verwirrt und frustriert sie den Blick der Kolonialherren; auf politischer Ebene verkörpert ihre Kleidung genau jene kulturelle Identität, die zum Verschwinden gebracht werden soll. Fanons Text zeichnet einen Konflikt und dessen Evolution nach: In der ersten Phase versuchen die Franzosen, die Frauen vom Schleier zu befreien, um sie zu Agentinnen der Modernisierung zu machen; dabei verdichtet sich im Festhalten an der Verhüllung der Widerstand gegen die Besatzer. In der zweiten Phase, der Phase des Befreiungskampfs, setzt die weibliche Bevölkerung den Schleier – und besonders das Spiel mit dessen An- und Abwesenheit – bereits als Instrument ein, um etwa Waffen unbehelligt ins feindliche Feld einzuschleusen. »Der Schleier« legt nicht nur das Spiel der algerischen Frau mit den Annahmen und den Erwartungen der Repräsentanten der Kolonialmacht frei, sondern auch die Geschichte eines Kleidungsstücks, das in seinen widersprüchlichen Zuschreibungen bis heute umkämpft ist. ↑ ↓ ↓

Nineteenth-century Sudan, wracked by religious, cultural, and political differences, is brilliantly evoked in the most ambitious book yet by this talented novelist. This, Mahjoub's latest novel, centers around the Battle of Omdurman---one of the great colonial wars in Britian's attempt to gain control over the Sudan. ↑ ↓ ↓

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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. ↑ ↓ ↓

Trefferia – a made up word – mixing the words Treff and Cafeteria together. Appropriated from a cafeteria-like meeting place with filter coffee, beer and cold smoke. For Wilhelm Klotzek an ideal place to invite his own works to. Central to this book is Klotzek’s personal relationship with the medium of language. He embeds his body of works of the last ten years around his personal stories – growing up in East Berlin, going through his adolescence in the years of the post-fall-of-the-wall years. In sculpting his memories in dense moving texts that take us into the corners of the broken German past his dark and humorous approach creates a specific aesthetic language that he stretches and bends in various directions. Therefore Klotzek doesn’t only act as a sculptor of words, objects, memories and situations but furthermore also as a performer, display and furniture designer and collaborator when he works with his artist’s colleagues Konrad Mühe or David Polzin. ↑ ↓ ↓


Ixiptla Volume I was published on the occasion of Expedite Expression, 8th Berlin Biennale for Contemporary Art in 2014. For this first issue, a group of anthropologists, archaeologists, artists, and writers have been invited to reflect on the role of the model, the copy, and reproduction in their areas of research and practice. This edition is focused on objects collected and produced by archeologists in an attempt to capture and replicate material evidences left by time. ↑ ↓ ↓

Can we read an archaeological site through chance operations? Probably a different idea of time would evolve from this methodology. Feathered Changes, Serpent Disappearances explores the tension between indeterminacy and narrative in archaeology and art. On one hand, there is an attempt to record traces from the past in order to build up a coherent picture. On the other, we have a more schizophrenic way of dealing with memory, acknowledging ghosts, double visions, and multiple versions of history. ↑ ↓ ↓

Kaleidoscopic Eye departs from an argument between André Breton and Roger Caillois. The confrontation arose from their discovery of Mexican jumping beans—beans that make sudden movements and leap into the air. Caillois conjectured that larva or some other animal was making the beans move. Breton rejected his theory, accusing Caillois of being a closed-minded positivist who negated the marvellous and the poetic in his attempt to find a rational explanation. For Breton, absolute or objective chance blurred the borders of rationality, proffering a chaotic and stimulating universe: convulsive beauty. Caillois wrote a letter ending the relationship with Breton, declaring his attempt to reconcile research with beauty. Caillois sought to examine chance, chaos, and the irrational with the goal of finding a pattern similar to the structure of coral. T his structure should combine, in one system, everything that had until then been systematically excluded—a structure capable of taking into consideration all the possible forms of reality. Kaleidoscopic Eye was first published as part of the exhibition Kaleidoscopic Eye, in 2009 at Kunst Halle Sankt Gallen, now republished in its second edition. ↑ ↓ ↓

Replaying Life’s Tape explores a cycle of recent projects by the Berlin and Mexico City based artist Mariana Castillo Deball that take fossils and evolutionary trees as their subject matter, and departs from a research trip that she made to a significant fossil site in the Ediacara Hills of South Australia in 2018. Replaying Life’s Tape is also the first Australian exhibition of Mariana Castillo Deball at the Monash University Museum of Art, Melbourne (5 Oct – 7 Dec 2019). In this solo show, Castillo Deball presents a material and virtual recreation of the paleoecology of the Ediacaran Period, combining objects, sculptural display systems and viewing technologies to consider the relationships between site, time and history. ↑ ↓ ↓

The Grinberg Mystery is a novel based on the author’s involvement with a shaman known as Brother Cuauhtémoc. It describes the author’s desperation, and his quest into the unknown searching for a cure, after his mother was diagnosed with terminal cancer. The book revolves around the limits of one capacity of doing anything for love, and that which lies in between the visible and the invisible. It is a story about acceptance, and learning how to let go of those who we love the most. ↑ ↓ ↓

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 Memory of The Archive: Christoforos Savva in the 1954–1968 Cypriot Press & Literary Periodicals is published on the occasion of the survey exhibition project Untimely on Time: Christoforos Savva (1924–1968), co-organised by the Cyprus Ministry of Education and Culture, Cultural Services and Point Centre for Contemporary Art, Nicosia and presented at the State Gallery of Contemporary Art – SPEL, Nocosia, Cyprus, between 31 January and 31 March 2019. The book is a compilation and an archive of press cuttings, consisting of more than two hundred articles, commentaries, reports, and advertisements that appeared in the mainstream Cypriot press and literary periodicals between 1954 and 1968 and relate to the Christoforos Savva. The press cuttings are treated as objects with a story, a narrative worth telling with the goal of shedding new light on the artist’s life and career. ↑ ↓ ↓

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. ↑ ↓ ↓

Started in 1998, the 'Lichtzwang' series consists today of more than 300 watercolors, all on 15 x 21 cm sheets of graph paper. Most works in the series are made up of groups of several watercolors wherein each successive work is a variation of the previous, showing a transformation. The last watercolor usually matches the first one, so that each group forms a loop that could be installed in any order. The process of realization is, however, guided by simple rules (play with the grid on the sheet, each item that appears in the watercolor lasts for three sheets), rules that bind while allowing improvisation and the introduction of a certain randomness in the process. These watercolors have the generic title 'Lichtzwang' (lightduress or lightconstraint) which in turn is the title of a book of poems by Paul Celan. ↑ ↓ ↓

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. ↑ ↓ ↓

“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) ↑ ↓ ↓

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. ↑ ↓ ↓

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. ↑ ↓ ↓

Unfold the poster. Lay it down. Take the prints in your hands. Place them on the poster. Cut the black tapes as you like. Fix the prints. Thank you. ↑ ↓ ↓

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. ↑ ↓ ↓

The Italo-Brazilian architect Lina Bo Bardi (1914–1992) forged a unique path with her bold designs. Spanning architecture, stage sets, fashion, and furniture, her work drew inspiration from the International Style, which she translated into her own visual language. Fundamental to her work was her thoughtful en­gagement with her adopted country of Brazil, its cul­ture, society, and politics, and she productively and provocatively voiced her sometimes radical views through designs, exhibitions, and writings. On the oc­casion of Lina Bo Bardi’s one hundredth birthday, this richly illustrated volume presents an overview of her oeuvre and highlights iconic buildings, such as her own home, the so-called Casa de Vidro, the Museo de Arte de São Paulo, and the cultural center SESC Pompéia. ↑ ↓ ↓

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. ↑ ↓ ↓

On Working And Then Not Working / Autoeclipse is published on the occasion of two solo shows by the artist Armando Andrade Tudela: On Working And Then Not Working at CRAC Alsace, France (June 14–September 16, 2018) and Autoeclipse at Centro de Arte Dos de Mayo, Spain (February 24–September 15, 2019). An in-between space between the exhibitions, the catalogue features extensive documentation accompanied by collages of the artist’s evolving works as well as new essays by the show’s curators, Elfi Turpin and Daniel Steegmann Mangrané. ↑ ↓ ↓

En algún lado y en ninguno is a compilation of poems by the jazz musician and poet Sun Ra (Alabama 1914 – Birmingham 1993), selected and translated into Spanish by Mariana Castillo Deball, Tania Islas Weinstein and Alberto Ortega. The adventure began in a library that looks like a spaceship, next to a monument in the shape of a burned marshmallow that celebrates the first atomic reaction generated by humans. A plaque in the monument suggests that the powerful energy should be used for beneficial purposes. Inside this lunar library is the Special Collections Centre at the University of Chicago, that keeps the archive of Alton Abraham – Sun Ra Collection, comprising the period 1822-2008. Alton Abraham (1927-1999), entrepreneur and hospital technician, was a friend and partner of Sun Ra, and throughout his life he collected manuscripts, ephemera, artifacts, photographs and audio-visual recordings of the work of Sun Ra and his collaborators. Within the archive, which occupies 48 m of linear shelf space (146 boxes and a large folder) we found Sun Ra’s wallet, containing his lawyer’s business card, the insurance receipt for his car, a cabalistic amulet, and a million dollar bill perforated in the center. We also discovered Sun Ra’s typed poems, with handwritten corrections and in various versions. His poems generate a parallel geometry, a world that is precise and ambiguous at the same time. A sidereal enthusiasm made us think that the translation of his poems into our mother tongue could bring us close to his cosmos, and simultaneously allow us to share them with the Spanish-speaking firmament. Selection and translation by Mariana Castillo Deball, Tania Islas Weinstein and Alberto Ortega. ↑ ↓ ↓

Blue has run is an intervened facsimile of A Catalog of Textiles and Folkart of Chiapas by the anthropologist Walter F. Morris, published in 1979. The original publication was printed in 100 copies, most of which have been lost or dispersed through various specialized libraries. This catalog listed the items belonging to three collections of fabrics and weaving patterns in South Mexico which Walter F. Morris, called Chip, helped to constitute during mid seventies: the Pellizzi, the Pomar and the Morris Collection. Its DIY quality gives the images an almost abstract twist. This and the painstakingly precise descriptions of the items take the content of the catalog towards territories closer to poetry, drifting it away from its original purpose. ↑ ↓ ↓

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. ↑ ↓ ↓