Subduing our bodies, in the sense of controlling our impulses and desires, is an aspiration which is older than Christianity. At that time, the dominant question was: how do you get good control over yourself? Christianity made women the symbol of possible loss of control over our bodies. Achieving our self-control turned into being able to control the woman, to avoid the temptation that she, malevolent, represents.

The book ...Umas […Some] begins before I existed. First of all, because of the artist's own connection with the newspaper: Lenora de Barros worked for many years behind the production of magazines and newspapers, artistically thinking the process of some of the main publications that still circulate in Brazil. The newspaper Folha de São Paulo, as it is known today, also has a lot of her touch.

Soft Edges, Draw Close presents a body of work by Euphrosyne Andrews that explores how materials and their subsequent associations shape our interactions within space. Architecturally scaled sculptural works are displayed alongside intimate ‘viewing rooms’ in reference to public and private divisions. Schematic drawings for

Cocoon or Carcass. Past or Future. Building the ruin. This edition pays close attention to the metaphorical structures and cultural crisis in South West Cornwall.

Plunder the silver crust. Fill the stained valleys. Deeper into the subterranean. The shocks, the rocks, the flash. Echoes of our old faith tearing loose the earth. Photographs from the Wheal Maid Copper Mine, Gwennap, Cornwall, 2023.

This book, a collaboration between the Victoria and Albert Museum and the University of Westminster, captures the British mosque at a pivotal moment in its history. There are 1,800 mosques in the UK today – mostly converted from terraced houses, libraries, cinemas and supermarkets. Now, these improvised spaces are beginning to disappear, as Muslim communities replace them with purpose-built structures.

Developing a new body of work specifically for this publication, Collected Arrangements is the product of a sustained collaboration between the artist Lucas Dupuy and Foolscap Editions. The page is used to frame and contextualise the distinct marks, lines and shapes of the artist’s visual language. Reconfigured compositions explore the space and structure of the page, which offers a testing ground akin to that of the gallery space.

Idol Hands presents a wealth of source and visual references, alongside original drawings from the artist’s unique and expanded narrative of imagery stemming from alternative means of communication such as braille, morse code and sign language.

How to Book in Berlin serves as a comprehensive guide to bookmaking and publishing, offering insights we wished we had when we were starting out. It includes information on research methods, funding strategies, production techniques and distribution approaches, all underpinned by the perspectives and advice of experienced publishers. Our ultimate ambition is to alleviate the challenges often associated with the journey of creating artists’ books and to foster meaningful connections within the diverse and vibrant artists’ book communities.

This groundbreaking account of postwar American art traces the profound influence of Antonin Artaud. Proposing an original reassessment of art from the 1950s to the 1970s, No More Masterpieces reveals how artistic practice in postwar America was profoundly shaped by the work of the rebellious French poet and dramatist Antonin Artaud (1896–1948).

Im Januar 2019 veröffentlicht Michel Houellebecq "Serotonin". Im Jahr 2020, in einer poetischen, vielleicht sogar chemischen Geste, nimmt François Mangeol den Roman von Michel Houellebecq und reduziert den Text des Schriftstellers auf die alleinigen chemischen Symbole, die die Serotonin-Zusammensetzung bilden: C für Kohlenstoff, H für Wasserstoff, N für Stickstoff und O für Sauerstoff. Diese Symbole sind isoliert und über die gesamten 352 Seiten des Buches verteilt, als ein Echo zu dieser schwierigen Suche nach Glück.

Off-the-grid from commercial galleries – selling visuals – and canonical institutions – there to support the often static national or regional identities– artists instigate grass-roots cultural safe havens in order to deliver the progressive and the experimental. They are fundamentally vulnerable to public-policy cycles, in the voluntary effort that holds the initiative together, in their provision of opportunities, and more. Despite the precarity of such organising by these civil initiatives, and regardless of their promoting of a public cultural vitality beyond the demand of the public life, they are in poor public support and lack opportunities to gain public visibility.

'When artefacts become pieces of evidence and artists are transfigured into fictional characters animated by their worship of Western art, culture shrinks into the narrow border of the state nation:" would state Tweetu, the weird curator and main suspect of the plot. Detective Elchmanyahu's auto-da-fe follows

Belgrade collective Škart has been operating within and around existing hierarchies of the art world and everyday life, working in collaboration with marginalized groups, NGOs, and anti-war movements. Škart ‘s understanding of the artwork is fluid and relationship based. No matter the medium —

In 1988, a seminar was held at the Bauhaus Dessau as part of the UN-HABITAT programme that dealt with questions of housing construction in 'developing countries'. A prefabricated building system developed by GDR architects was presented here, which was used for the first time in an education and development center of the African National Congress (ANC) in Dakawa, Tanzania. The educational

Notes on Book Design is a collection of 50 texts written by designers Siri Lee Lindskrog and Amanda-Li Kollberg of graphic and type design studio Formal Settings, based on books from the collection of Hopscotch Reading Room in Berlin.

Books not only describe their own contents but also the eras in which they were created. Conceived as a color inventory, this publication gathers a selection of titles that I have dealt with, exhibited, and produced since the early 2000s.

»Wenn alle Documente verloren, genügt ein vollständiges Markenalbum zur Total-Reconstruction der Weltkultur im technischen Zeitalter.« - Aby Warburg
»Ich bin der Ansicht, dass der einzige Fortschritt der Kunst der ist, die ganze Intensität vom Ich auf das Wir zu verlegen. Sozusagen durch ideologische Kleptomanie müssen wir in die bürgerliche Kultur eingreifen, indem der Wert des persönlichen Eigentums, der der künstlerischen Schöpfung innewohnt, gemindert wird.« - KP Brehmer

»Die Dinge, die durch den Dunst von gestern so gewaltig erschienen – Eigentum, Klima, Erziehung, persönliche Schönheit und anderes mehr, haben ihre Verhältnisse merkwürdig verändert. Alles, was wir für fest hielten, schwankt u. klappert …«
“The facts which loomed so large in the fogs of yesterday,—property, climate, breeding, personal beauty, and the like, have strangely changed their proportions. All that we reckoned settled shakes and rattles …” Ralph Waldo Emerson (zitiert von / quoted by Robert Musil)

Anna Grath ist Bildhauerin, deren Praxis – häufig sind es Wandarbeiten – vom Verknüpfen und Verbinden geprägt ist. Auch Das Regal ist eine fein konstruierte Montage von 204 einzelnen Buchseiten.

Die Untersuchung beginnt mit ethnografischen Erkundungen einer Kunsthochschule. Unter diesem Blickwinkel sind die 96 % derer, die freie Kunst studieren, ohne je von ihrem Metier leben zu können, genauso interessant wie die Stars des Kunstbetriebs.

Im minimalsten Raum zwischen Haut und Kleid lauern essenzielle Fragen. Kleiden wir unseren nackten Körper, um uns zu verkleiden? Wann sind wir wir selbst und wer ist das?

Wer war Sabina von Steinbach? Folgt man ihrer Darstellung auf dem Figurenfries im Treppenhaus der Alten Nationalgalerie in Berlin, war sie eine bedeutende mittelalterliche Bildhauerin. Jedoch, wahrscheinlich hat es sie nie gegeben. Warum ist sie dennoch, als einzige Künstlerin überhaupt, Ende des 19. Jahrhunderts in jenen zentralen Fries berühmter Persönlichkeiten aufgenommen worden?

1809 fand im Londoner Wirkwarengeschäft seines Bruders die erste und einzige Einzelausstellung des Maler-Dichters William Blake statt. Sie erwies sich als Reinfall. Kaum jemand sah sie. Die Kritiken waren verheerend, mit Ausnahme einer Rezension, die im Januar 1811 in einem patriotischen Hamburger Kulturmagazin erschien.

Buch Handlung Welt – in drei Worten − wurde von der Künstlerin Hilka Nordhausen 1976 im Hamburger Karolinenviertel eröffnet.

Im Frühjahr 2019 bereiste ich zum ersten Mal Japan. Ich blieb für zwei Monate. Meine Reisevorbereitungen starteten gewissenhaft: kurz vorher besuchte ich auf Empfehlung einen zweiwöchigen Japanisch-Intensivkurs für Anfänger*innen am Japonikum der Uni Bochum. Trotz ernsthafter Bemühungen gingen meine Sprachlernversuche komplett daneben. Mir fehlte

Archive und Depots … und Lager und Halden und Haufen und Bunker und Verliese und Kammern. Der Lockdown hat den Schädlingen – Motten, Schimmelpilzen und Käfern – in den Archiven gutgetan. Die relative Ruhe, Dunkelheit und fehlende Störungen durch Besucher und Mitarbeiter*innen haben seit März perfekte Bedingungen für Larven und erwachsene Tiere gleichermaßen geboten.

Gehfotografen, literally “walking photographers”, were active on the streets of cities and tourist destinations across Europe between 1927 and 1935. This type of profession became increasingly popular with the Great Depression, when the 1929 collapse of the New York stock exchange led to an economic crisis throughout Europe. Unemployment and poverty eventually led to a civil war in 1934.

“Saint Louis in his prison in Damietta”, “A house engulfed in flames ...”, “A snowman, such as children build ...”: The painter and illustrator Henri-Achille Zo (1873–1933) received a total of 59 instructions of this kind in the early 1930s.

Manifesto per una nuova ceramica [For a Manifesto of the New Ceramics] is born from the necessity to shape a shared feeling, a “trembling,” that crossed the Italian and international ceramics landscape in the past few years. Irene Biolichini, curator and professor, intercepted this sensation and,

To Perform a Ferry is a book that holds eight performance scripts and other material to be spoken. Inspired by the figure of the renegade who leaves land behind and crosses the sea or leaves civilization to take refuge in the vast desert, the eight scripts embody the state of migrating, through space but also through languages, bodies, and writing genres. Written in English by Mohamed Abdelkarim.

In 1972, Ulises Carrión produced his first artist’s book SONNET(S) which consists on 44 variations of a sonnet by Dante Gabriel Rosetti titled “Heart’s Compass”. Using the language as a material, Carrión writes Rossetti’s poem over and over again on a typewriter, in slightly different versions.

Inside this box is a book that holds thirteen letters written between 2019 and 2022 by the artist Yamine Elmelegy to the sculptor and industrialist Fathy Mahmoud (1918-1982). Yasmine never met Fathy Mahmoud but started writing

For the exhibition Making Something from Some Things, the living room on the 3rd floor of the Badischer Kunstverein will become an exhibition space. This room is usually made available to artists as a temporary living and working space during their production residency in Karlsruhe. The opening of the space offers the public a

Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde—artist, poet, critic, essayist, curator, editor, filmmaker, and a promoter of experimental ideas and artistic expressions. Reflecting questions of hierarchy, authorship, and the complexity of framing or dividing within the multiple and complementary practices of

How does clothing 'work' socially? Combines images and notes by the artist with sources of inspiration from film, art, literature and philosophy

X is an annual magazine focusing on visual culture and experimental literature: a collective artwork, a material flow of reality that eludes any prediction. X freezes on paper the power of contemporary art and writing, welcoming with joy the delirum of participating in such pursuits. Pain, battles, sequences of errors, vanished memories and unwanted prophecies; X is born because we can still be against everything and also against ourselves.

The book is the outcome of research on the themes of sex, sexuality and performativity which started in summer 2019 and was concluded in autumn 2021. The investigation starts from a curatorial perspective, situated in the field of contemporary Italian visual and performing arts, and evolves by absorbing contents from a variety of disciplines (philosophy, literature, history and pornography). The research is based on the firm conviction – here turned into a method – that a critical theory able to go beyond the disciplinary compartments of knowledge is an important practical tool for facing the political challenges of our contemporary world.

The volume is an epistolary narrative produced via text message with a community of anonymous correspondents. Following on from a performative work, conceived by Simon Asencio, this book stages a relation between two protagonists, U and I. Through identitarian slips and glyphs, the book explores the narrative ambiguities of experimental writing, to generate a space for fluidity and uncertainty, at the intersection of the artistic and the literary.

Los Angeles Studio Conversations ist der vierte Band einer laufenden Interviewserie, die 2013 von der Kunsthistorikerin Stephanie Buhmann in New York ins Leben gerufen wurde. Mit bislang siebzig bis publizierten Gesprächen zielt dieses Projekt darauf ab, ein permanentes und wachsendes Forum für internationale zeitgenössische Künstlerinnen zu schaffen.
Los Angeles Studio Conversations stellt die folgenden Künstlerinnen vor: Lita Albuquerque, Sarah Cain, Andrea Fraser, Liza Lou, Shana Lutker, Kristen Morgin, Catherine Opie, Silke Otto-Knapp, Monique Prieto, Alison Saar, Analia Saban, Fran Siegel, Lisa C. Soto, Despina Stokou, und Diana Thater.

A multifaceted play with language and meaning can be grasped in their work and exhibition titles. In their practice, they have been working against the grain of some of the art world’s conventions, from medium specificity to questions of branding and commodification.

The book to be released in conjunction with the exhibition includes an essay by Daniel Muzyczuk that explores the context of Ridnyi’s new film The District and his interest in the Polish artist Władysław Strzemiński’s (1893–1952) Theory of Vision.

“Folded” is a documentary photo book by Zoran Shekerov published by PrivatePrint. The book researches and presents the Pehlivan wrestling tradition from an authentic and contemporary angle. Shekerov’s style - so visible through the photographs - is bright and unpredictable, and carries the viewers closer to the subject matter, where they never expected to be.

Supplement 7 traces Joar Nango's artistic process, mapping the development of his temporary installation and sculpture Uncle Doug’s Fishing Shack presented at Plug In ICA (Winnipeg) in 2019 as part of Stages. The publication features an interview between Nango and Indigenous architect David Thomas about an abandoned military barracks’ transformation into Canada’s largest urban reserve.

What happens to curatorial practices when treated as multi-voiced, pluralistic, and process-based? Politics of Curatorship: Collective and Affective Interventions asks what curatorship could be when it is freed from its elitist notions.

Seit Beginn ihrer künstlerischen Laufbahn thematisiert Christina Zurfluh die abstrakte Malerei. Ihre Abstraktionen gründen dabei nicht auf der Reduktion von Gegenständlichkeit, sondern entstehen in einer Symbiose aus Kalkül und Intuition.

This publication summarizes the results of the 40th-Anniversary Symposium of the Austrian Ludwig Foundation, which was dedicated to examining current and future perspectives of museum collections. Considering the growing awareness—on an aesthetic as well as an institutional level—of the need to pursue a more inclusive

My Body is a Battlefield bietet einen umfassenden Einblick in das Werk der 1988 auf der Krim geborenen ukrainischen Künstlerin Maria Kulikovska. Bereits in frühen Arbeiten setzt sie sich mit patriarchalen Strukturen und der Abwesenheit weiblicher Subjektivität in der ukrainischen Kunst auseinander. Mit der Annexion

Selbstinszenierung, Selbstentblößung, Selbstauslöschung – das sind die Themen, die Michaela Moscouw (*1961) über drei Jahrzehnte kompromisslos, exzessiv und einprägsam bearbeitete. Bis Anfang der 1980er-Jahre malte die Wiener Künstlerin abstrakte Bilder, dann zerstörte sie ihr gesamtes Werk und filmte sich dabei. Damit wechselte sie das Medium und verwendete

Timo Huber, Gründungsmitglied der Architekturgruppen Zünd-Up und Salz der Erde, ist vom Verführungspotential und der Irritationskraft alltäglicher Bildwelten fasziniert; er kombiniert und verfremdet in seinen Fotomontagen auf analogem Weg gefundenes, mit dem Seziermesser bearbeitetes Bildmaterial zu überraschend neuen,

he first monograph by the Taiwanese artist Chen Chieh-jen (*1960 Taoyuan, Taiwan) appears in the Secession's publication series. The book, designed applying various shades of black, includes the artist’s introduction to his recently completed film Worn Away (2022–23), which is presented at the Secession, sketches and handwritten notes, as well as a selection of video stills. In his essay, Jon Solomon, professor of sinology in Lyon and Paris and a proven expert on the work of Chen Chieh-jen, provides an interesting background analysis to the new film, among other things. Each book contains a paper bookmark printed with the image of a disposable RFID wristband, which plays a key role in the film. The artist has also hand-stamped the Chinese film title on each bookmark.

Zur Ausstellung erscheint eine Publikation mit einem Essay von Stephen Ellcock, in dem er die spirituellen und mythologischen Bezüge in Delaine Le Bas’ Werk und insbesondere in der für die Secession konzipierten Installation exemplarisch anhand von Referenzen aus der griechischen Mythologie und altägyptischen Totenkulten darlegt.

"Healing The Museum" is a mid-career monograph looking at Grace Ndiritu’s diverse practice over the last twenty years, which encompasses performance, film, social actions, painting, publications, textile work, and collection research.

On subjects including an interrogation on cinephilia and gender, surveillance, infant observation during the pandemic and the screen as psychic portal, Beirut on film, devotional labour, prisons during lockdown, the notion of solidarity, reproduction and futurity, and much more... Roundtables about Sarah Maldoror; hands and fate, work, pleasure, touch, and surveillance; early women's travel films…

They Will Say I Killed Them is the result of a one-year research marked by visits to public film archives, private foundations, and meetings with important testimonies of Italian cinema. The aim was to conduct an in-depth investigation on those Italian movies—from the 1950s to the 80s—that due to censorship have been left on the shelf in the form of a screenplay, or filed away

In The Carrier Bag Theory of Fiction, visionary author Ursula K. Le Guin tells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination.

Queer Nursing offers an alternative, inclusive way for both performing and supporting nursing. Written as a human manual, it takes the reader through the nursing process from start to finish. Through easy, loving language it supports nursing parents, other parental figure(s) and friends in their journey of emotional and physical milestones as well as offering gentle ways to take care of each other.
The manual includes a new way of nursing by introducing the phasing system, which will aid the family in both starting and ending nursing in a calm, caring way. Queer Nursing is Gorilla Milk’s first release.

Julie Ault and David Deitcher illuminate the life and work of the influential art historian, New Museum curator, and Visual AIDS co-founder William Olander (1950–1989). Olander’s exhibitions challenged oppressive institutional boundaries, blew open dichotomies, and boldly confronted discrimination, sexual difference, and AIDS, shaping curatorial practice for decades to come.

A collective effort from a vital scene in Kampala, KIKOMMANDO takes its name from Ugandan street food of flat bread and beans.

Bandra Sentimental, the new photography book on the block, documents style on the streets of Mumbai.
With a cast chosen from the city’s streets, their flamboyant styles intact, the book aims to showcase everyday life in the city. Commonplace to the Indian, sometimes shocking to an outsider, the fearless amalgamation of colour, fabric, pattern, design and cut, worn by men out and about, comes not from wanting to make a statement but a natural sensibility within.