Als jüngster der Becher-Studenten – geboren 1967 – hat sich Elger Esser in seinem fotografischen Konzept am grundlegendsten von dem seiner berühmten Lehrer entfernt.

Lee Friedlander is one of the most renowned photographers of his generation. Through Friedlander’s lens, people in their everyday environments are transformed into arresting portraits, and the banal features of roadsides, storefronts, and city streets become vivid scenery. In Dressing Up, Friedlander ventures into new territory, turning his eye to the rarefied world of fashion and revealing precisely what is commonplace about it: behind the glamorous spectacle of the runway are many people hard at work.

Goldblatt recherchiert und dokumentiert darin mit seiner Kamera die sozialen, kulturellen und politischen Dimensionen des Bergbaus in seiner südafrikanischen Heimat Randfontein.

Weiß bemalte, nackte Körper, die Gesichter vom Betrachter abgewendet, so fotografiert Nadav Kander (*1961 in Israel) die Modelle seiner jüngsten Serie. Die Accessoires sind spärlich, die Ästhetik ist reduziert, gleichwohl erscheint das Arrangement der meist üppigen Körper barock.

Eine echte Horizonterweiterung: Der britisch-amerikanische Fotograf Sze Tsung Leong (*1970 in Mexiko-Stadt) kombiniert in seiner Serie Horizons Weitwinkelaufnahmen von Landschaften aus aller Welt, die erstaunliche formale Ähnlichkeiten oder vergleichbare Rhythmen aufweisen und deren Horizontlinie er jeweils auf dasselbe Niveau legt.

The fourth and final volume in Bill Owens' landmark Suburbia series [SUBURBIA (1973; revised edition 1999, Fotofolio), OUR KIND OF PEOPLE (1975), WORKING - I DO IT FOR THE MONEY (1977), and LEISURE (2004)].

Revised edition of groundbreaking book originally published in the seventies as part of the influential Suburbia series by Bill Owens. Photographs of people working, with humorous, heartbreaking and insightful quotes about the experience of working.

“Types of Assembly” is expanding the scope of typological investigations in order to detect the underlying mechanisms leading to assemblies in space—its collective rituals, political movements, spiritual dimensions, imaginary projections, everyday practices—and, it is suggesting that the performative quality of typological formation unfolds its true transformative potential within the timespan of hours, years and ages.

The fruit of a lengthy research, this book shows for the first time a significant selection of René Heyvaert's mail art. The latter is linked to the Belgian artist’s multiform oeuvre—which retains, given that René Heyvaert (1928–1984) was originally an architect, an overt material and spatial relation to its environment—as well as to his personal life: his gradually deteriorating health, and the loneliness that fed his epistolary vocation.

The work of Daniel Dewar & Grégory Gicquel violates the pre-established codes of sculpture and features a physical reengagement with materials and processes, including embroidery, weaving, ceramics, wood and stone carving.

Pop, Witz und Ironie charakterisieren seine Arbeit, die aus Lebensthemen wie Wetter, Segeln, Natur, Musik und Sprache schöpft. Auch die Themen Schönheit und Erotik durchziehen Attersees gesamtes Œuvre.
Die Ausstellung Feuerstelle zeigt Attersees Werk in all seinen Facetten – mit Fokus auf die ersten zwanzig Schaffensjahre. Während frühe Werkphasen mit grellen Farben und Bildmotiven an die Pop-Art erinnern, eignet sich der Künstler ab Mitte der 1970er-Jahre einen gestisch-expressiveren Zeichenstil an, der später ins Malerische geht. Collagen, Grafiken, Fotografien, Filme, Musik und Gemälde stehen gleichberechtigt neben Erfindungen, Kunsthandwerk und Produktdesign. Neuere Bilder ergänzen Attersees frühe Arbeiten und machen die Stringenz in seinem Œuvre nachvollziehbar.

The latest issue in the publications’ 20-year history looks at the innately human desire to create systems and how artists across the world interpret this subject. As it’s inevitable that we’ll deal with different types of systems throughout our lives, issue number 18 focuses on precisely this. Many artists create their own systems and methods; setting up rules for creating their art, sorting their materials, following specific schedules, creating new worlds. In a way, such structures provide us with a framework for stretching the possibilities of our creative freedom.

"Spaces of Commoning: Artistic Research and the Utopia of the Everyday'' is the outcome of a research project pursued by a group of artists, architects and social theorists, who in the face of exhilarating politics of accumulation and dispossession explore commoning as the subject as well as the means of their collective study.

The first comprehensive study of Knoll's innovative textile designs and the company's role within the history of interior design In 1940, Hans Knoll founded a company in New York that soon earned a reputation for its progressive line of furniture. Florence Schust joined the firm and helped establish its interior design division, the Knoll Planning Unit. In 1947, the year after their marriage, Hans and Florence Knoll

Anfang der 1980er Jahre wurde Taaffe als wichtiger Vertreter der Appropriation Art international bekannt. Sein Interesse an Ornamenten unterschiedlicher Kulturen und historische Naturdarstellungen, die er als Fragmente in leuchtenden Farben auf die Leinwand bringt, prägen seine Bilder.

Barbara Jean Hammer (1939-2019) gilt als Pionierin des queeren und feministischen Kinos und war eine der ersten Filmemacherinnen, die sich ausdrücklich dafür einsetzte, lesbische Realitäten sichtbar zu machen. In experimentellen sowie dokumentarischen Filmen, Fotografien, Zeichnungen, Collagen und Performances beschäftigte sich die Künstlerin mit der Auflösung der vorherrschenden Geschlechterrollen, der lesbischen Identität und der Sexualität. Hammers Arbeit beleuchtete Tabuthemen wie Altern, Krankheit und Tod.

In With Ease Through Heaviness lotet Robert Pfaller die Grenzlinien zwischen philosophischer Reflexion und künstlerischer Praxis aus.

Poster Boy is a quarterly print poster magazine that features six models that have been captured in modern minimalist forms.

This book gathers together the presentations made at the International Symposium 'The Territories of Artists' Periodicals'. The symposium was held from 2-4 June 2014, in the Lawton Gallery at the University of Wisconsin-Green Bay (organised by Marie Boivent, Université Rennes 2 and Stephen Perkins, University of Wisconsin-Green Bay).

Visual AIDS artist member Ben Cuevas speaks to Annie Sprinkle about art, knitting, postporn, ecosex, HIV, love, loss, risk, activism, feminism, go-go dancing, orgasms, humor, death and more.

Taking HIV criminalization as a starting point, Cell Count brings together artists who unpack and reconfigure the metaphors and assumptions that enable the punishment and incarceration of people living with HIV.

Alexey Brodovitch's Ballet published in 1945 is one of the most legendary of photobook masterpieces. While already established as a leading influential art director and graphic designer, Brodovitch turned his photographic talents towards rehearsals and performances of ballet companies visiting New York stages.

The glue experiment. Located in a small town approximately twenty kilometers north of Vienna,
Atelier Gugging is an open studio based on the creative experience of the Gugging House for Artists, whose residents are important representatives of Art Brut. In the Atelier, these artists work in a friendly atmosphere side by side with guests from Austria and abroad.

Jenisch-Feu – Third Variation is a publication documenting a series of paintings by artists Thomas Koenig and Vianney Fivel.

Visual and textual narratives coexist in the book, as this type of material needs not only visual but also textual support. They address the given subject in the wider chronological order: from the 20th century avant-garde to the present. Most importantly, the publication focuses on the Kharkiv school of industrial graphics and the accomplishments of Volodymyr Pobiedin.

The work of Nicolas Paris compromises of research into the processes of learning and speculation, and is based on four concepts: tool, method, idea and system. This book is separated into four sections that address these four concepts, forming a manual that can be used by everyone, not merely artists or art lovers.

UN is a photographic diary by Giovanna Silva guiding us through the United Nations Office headquarters in Geneva. A chat-like narration unveils spaces, thoughts, eye catching details and is overlapped by images of halls, old phone booths filled with plastic wrap, textured walls, floors and ceilings, rows of tables and chairs, either straight or curving, like rollercoasters.

The book, Architecture as Fabulated Reality, marks the culmination of AAPK’s four experimental architectural projects, which employed virtual reality technology (VR) as the primary medium.

A series of images following one from the other/Eine aufeinander folgende Reihe von Bildern is a dual-purpose artist's book made from ten unbound sheets of paper (each 29.7 x 40 cm), gloss on one side and matte on the other.

Brice Dellsperger pushes the boundaries of genre and gender. In his multifaceted reprises of iconic film sequences—all assembled under the title Body Double—the cineast and artist reenacts selected scenes from well-known films frame for frame and lets his “body doubles” perform all of the roles, be they male or female

Sandra Peters: Leporello [Spatial Thinking] is a compact artist’s book that explores the sculptural practice of Sandra Peters through the format of a folded leporello.

In June 2019, Elise By Olsen was invited to deliver the graduation lecture at Elisava School of Design and Engineering in Barcelona. The lecture took form as a loose conversation with professor Saúl Baeza, taking By Olsen’s past, present and future projects as points of departure to navigate freely through her thoughts, approaches and techniques. This conversation ended up taking somewhat of a retrospective look at the way By Olsen has manoeuvred through various projects and creative formulas, reconciling the realms of fashion, art and media, from a very early age onwards.

Shows, Signals, Unvernehmen brings together fifteen years of art critic, curator, and artist Christian Egger’s writings, from 2005 to 2020. The texts include interviews

Bodies are agents and products of history. Bodies are history made flesh, but they are also primary tools for understanding the past, present and future. History is a choreographed sequence of gestures that makes bodies intelligible to each other. Every gesture is a link in a chain binding us to gender, race and social class. Gestures solidify into identities. They enact identities that become natural through the systematic repetition of identical

Rab-Rab Press announces the publication of Free Jazz Communism, a new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962.

African art history continues to be dominated by Western scholars who set the tone for the field. Their cultural frames of reference, which they cast as universal, exert influence on the interpretation of African art, social conditions, and cultural milieu. The knowledge produced in most institutions and academic or independent publishers outside of Africa communicates the extant system in place within those localities. In other words, the audience for such forms of knowledge production is not (necessarily) in Africa.

KARL HOLMQVIST, WORD SQUARES. COMPAGNIA/MOTTO BOOKS 2017,
ISBN 978-2-940524-62-4. PUBLISHED WITH THE KIND SUPPORT OF THE CENTRE D’ART CONTEMPORAIN, GENEVA, TO COINCIDE WITH THE ARTIST’S EXHIBITION, 31.5.– 27.8.2017.

Following its German publication, Marc Schwegler’s essay Über das Potenzial begrenzter Ordnungen now appears in an English translation by N. Cyril Fischer and a completely re-worked design by Dorothee Dähler and Kaj Lehmann.

Significantly expanding the scope and functions of the HaFI pamphlet series, Ben Alper and Stanley Wolukau-Wanambwa present visual unknowns and forgotten gestures from the defunct archives of American mid-century news photography. Carefully curated and collated, their iconographic essay, a Bilderatlas of sorts, explores in depth the notion of “hide,” and of what forces normative relations to the visible serve to veil. How can, how should these images be looked at? And how do they unsettle the contemporary gaze?

What is the lesson of the vine? I asked artists, writers and winegrowers the question and their responses, reflections and songs are gathered together in this publication. Textual images are roused and conjured up, such as the insatiable mouth of the winelouse devouring the language of the vine; or the surge and flow of the vine-triloquist speaking in intoxicated tongues; nocturnal fires in the vineyards; gardens of paradise and gardens of errors.

This small publication is an edited reprint of the essay ‘The Book in Intermediary Form’ written by Kasper Andreasen. It was originally published in 2011 by Wintertuin, Nijmegen as part of a compilation about the future of the book. The essay argues for a possible scenario leading up to a hypothesis about an audio­visual book. How can artists’ books be audio­visual objects?

In Klara Kayser's water-proof pocket book of poetry, Hygiene, the Düsseldorf-based artist nibbles at the surfaces of our bodies, desires, and ideas and through words constitutes what washes off and what sticks. Kayser's interest in the human body is a theology of slapstick, translating form into a poetic language that hums the dramatic rhythm of a pick-me-up-and-drop-me-low pop song.

Can an autobiographical tale tell the personal stories of many? This is what Rubén H. Bermúdez achieves through the pages of the photo book 'And you, why are you black?" where, starting from an investigation into the origins of black slavery in Spain, the author constructs an autobiographical tale that acts as a political essay, rescuing his memory captured in the images, conversations and symbols that marked his life and thus narrates the everyday and the extraordinary of a society seen from a black perspective.

A very personal choice of art, cinema and fashion. nspired by Wassily Kandinsky and Franz Marc’s Blaue Reiter Almanac that, in 1912, brought together without hierarchy contemporary art works and works of folk art, Puits d’amour offers one possible vision of the best of 2016 in various creative fields. The affection I have for them is the only link between the collected works.

A number of contributions in the new issue of zweikommasieben relate to the past in some shape or form, and they conjure it in different ways. An approach that seems adequate, since the year 2020 might have given momentum to a nostalgic way of looking at the world. In an interview, the Australian duo CS + Kreme talks about how they still feed off the energy of an alchemic jam they had at the very beginning of their collaboration. Similarly, Johanna Hedva takes on the past in her artistic practice and speaks about how she understands performances as “the communion with the dead, with the past.”

«Lead Season» is the first thorough monographic catalog of Argentine artist Mauro Giaconi. Taking the drawing as a starting point, the texts address the multidisciplinarity that characterizes the artist's work, while also stressing the current socio-political context in Latin America based on the sense of impermanence, the presence of the body and a critical awareness of the matter.

Skinned and Detouched, by Alice Channer, are a pair of books about feelings. They are intended as portals to a single performative stage in the industrial production of two sculptures, and as an imaginative documentation of the multiple embodiments and disembodiments involved.

The blue issue of the hinterlands magazine assembles rural realities in 17 contributions from European rural regions and villages. The magazine combines reports, essays and photographic series related to the colour blue.

Can corporate history be art? This question can only be asked if one is not familiar with the fascinating long-term project by the Chinese artist Xiaowen Zhu. Anyone who has experienced Oriental Silk will answer this question with a clear “yes.” The project’s title is also the name of a company founded in Los Angeles in the early 1970s.

As we shift in and out of a fold in time on a global and local scale, we reflect upon community importance. To stay as a whole - we must look inwards and form external connections. CODE52 01 is titled A Fold In Time Here and Elsewhere as it refers to the state of conscious­ness during this time of uncertainty.

Marcel Broodthaers (Brussels, 1924-1976), a poet before becoming an artist in 1964, was a pioneer of intermedia and site-specific installation art but above all an in-depth theorist who ranged widely over the visual arts in his writings. Broodthaers’ work is widely recognized for its movement and combination of mediums: performance, film, text-based work, etc. Often overlooked, his artworks include genuine research into the nature of language, giving a conceptual continuity to all his practice.

Michael Snow is, without doubt, one of foremost living artist, and a central figure in North American art in the latter half of the Twentieth Century. Since the reception of the “Independent Film Award” (1968) from the journal Film Culture, his work was placing in the ranks of such major figures of avant-garde cinema as Stan Brakhage and Gregory Markopoulos as well as in the company of two other artists-turned-filmmakers: the photographer Robert Frank and the painter Andy Warhol.

The potential and the versatility of publishing open it to a diversity of practices and approaches in the arts, but as an eminently social form of art, a collective or micro-collective work with shared responsibilities, it is also a never-ending process of “crafting a variegated approach to how you create, publish, distribute, and build a social ecosystem around your efforts”, of trying to “build up and strengthen the community around these printed forms” (Temporary Services).

Andy Boots Werk überbrückt die schwierige Grauzone zwischen dem Fassbaren und dem Digitalen. In seinen gleichermaßen konzeptuellen wie poetischen Objekten und Gemälden gelingt es dem Künstler, Ideen, Orte und Prozesse zu verwirklichen, die sonst in einer Welt, die sich zu oft blind auf Technologie verlässt, verborgen geblieben wären. Wir unterhielten uns mit Andy Boot über seinen Umzug von Australien nach Österreich, seine Faszination für Blockchain und natürlich über das konzeptuelle Fundament seiner Arbeit.

In the 17th issue of zweikommasieben something that has been apparent from the beginning of the magazine—whose credo is to study the present—only seems increasingly true: in the supposed present, temporalities overlap and intersect. They burst out, reaching at once backwards and forwards.

Read in the "Touch" issue: ­­A Singaporean artist connects with Hijikata Tatsumi from beyond the grave • A Lycanthrope turns into a Manta Ray, a story of metamorphosis • Connecting during quarantine, with TikTok • Touching Palestine in a contemporary art center in Dubai • A Norwegian cartel redefines modern-day manhood • Dr. Aline LePierre talks about the healing power of touch

Alter Architecture Research Collective (AARC) is an interdisciplinary group of thinkers and practitioners that come together to observe, question, and distort existing strategies of cultural and spatial production.

Pupa Press’ Básicos is a collection that assembles unreleased content in an economical, easy to distribute archive format, with the intention of creating an agile way to publish contents that can generate networks and synergies between our contributors and followers.

Dedicated to his friend and mentor Peter Hujar, Salters Cottages is an artist’s book of stills from a short film Schneider made in 1981 at Salters Cottages, a summer seaside cottage community on Long Island, New York.