Published on the occasion of the performance of Show Real Drama, this monographic publication concentrates on a performance Keren Cytter developed for If I Can’t Dance, I Don’t Want to be Part of Your Revolution’s edition on Masquerade (2008–10) (...) (Quelle: Verlag).

Charlemagne Palestine works from a highly personal universe of ritual, intoxication, and shamanism.

Requests and Antisongs is an artist’s book to accompany a sequence of exhibitions by James Richards held at Bergen Kunsthall, Norway; Institute of Contemporary Arts, London; and the Kestner Gesellschaft, Hanover.

A supplement to exhibitions held at Museum Abteiberg, Mönchengladbach, and Muzeum Sztuki, Łódź, this book centers around the apple as an art object and as a case study in biodiver sity under threat.

A supplement to exhibitions held at Museum Abteiberg, Mönchengladbach, and Muzeum Sztuki, Łódź, this book centers around the apple as an art object and as a case study in biodiver sity under threat.

For the last 20 years, New York based German contemporary artist Josephine Meckseper s practice has interrogated consumerism, politics and art history through juxtapositions of images and objects.

Like a pictorial encyclopedia, ''Das Wunder des Lebens'' contains over four hundred drawings that show all that the modern world has to offer, from maps and city views to cars and airplanes.

Nathalie Du Pasquier was one of the founding members of Memphis, the groundbreaking Milanese design and architecture collective.

“New Ways of Doing Nothing,” a group exhibition that took place at Kunsthalle Wien in 2014, devoted itself to artistic production that opposes activity and instead gives an affirmative slant to forms of doing nothing or refraining—a major influence being the titular character of Hermann Melville’s “Bartleby the Scriviner: A Story of Wall Street.”

This publication accompanies the first comprehensive presentation of Asta Gröting’s project BERLIN FASSADEN. For her exhibition at KINDL – Centre for Contemporary Art, Gröting covered the walls and floors with sculptural silicone impressions of Berlin facades containing traces of bullet holes from the Second World War.

The book features nine essays, installation photographs of the works on show, film stills, archival material from the Noa Eshkol Foundation (notations, journals, notes), and wall carpets by Noa Eshkol. (engl.)

For almost fifty years, Lydia Okumura has explored the realm of geometric abstraction.

Published on the occasion of the eponymous exhibition at the Ursula Blickle Stiftung, September 9–October 14, 2012. (engl./germ.)

Django Hernandez hat eine überzeugende künstlerische Haltung, die aufklärerisch agiert und zugleich mit eminenter Leichtigkeit des Rätselhafte und Mysteriöse berührt.

Tecoh is a sprawling series of buildings designed by the artist Jorge Pardo deep in the Yucatán jungle. (engl.)

Fredrik Værslev’s work navigates between different painterly traditions, and demonstrates the possibilities and relevance of the medium today.

Merlin Carpenter’s 2015 exhibition “MIDCAREER PAINTINGS” filled the Kunsthalle Bern’s seven rooms with twenty-two transit blankets hung on the wall, pulled like canvas around identically scaled stretcher frames.

This publication presents artist Katja Eydel’s photographic body of work.

Part document, part photographic album, this book by artist duo Jos de Gruyter & Harald Thys captures the sculptural revisionings of the descendants of an executioner family from Greifswald in Pomerania, a historical region on the southern coast of the Baltic Sea.

An extended selection of edited video stills, Soft Intrusion offers a coherent oeuvre of Julika Rudelius’s video works. (Engl./Germ.)

An artist book juxtaposing text and image, history and its revision, The Blind Merchant was produced from 1989 to 1991.

Produced by Academie Anartiste as an extension of the eponymous exhibition organized by the Royal Swedish Academy of Fine Arts and Moderna Museet in 2011. (engl.)

This book was published on the occasion of the exhibition “Dealing with—Some Books, Visuals, and Works Related to American Fine Arts, Co.” at Halle für Kunst Lüneburg and Kunstraum of Leuphana University of Lüneburg (May 28–July 7, 2011), which was developed by Valérie Knoll, Hannes Loichinger, Julia Moritz, and Magnus Schäfer. (engl.)

In so far as Burr’s works also function as allegorical gestures by means of which an image of the present crystallizes in images of the past, this opens the present up to the future. (English/german)

An artist book juxtaposing text and image, history and its revision, The Blind Merchant was produced from 1989 to 1991.

Otobong Nkanga’s first monograph, Luster and Lucre, charts an intensely productive period from 2013 to 2016, which includes exhibitions at the 8th Berlin Biennale; Portikus, Frankfurt am Main; KADIST, Paris; and M HKA, Antwerp.

Bankleer’s works and projects are distinguished by the use of an exceptionally wide range of media and formats and the employment of different formal languages.

Emerging from the eponymous exhibition at Portikus in Frankfurt am Main, Flaca / Tom Humphreys reflects on the London exhibition space, Flaca, that Tom Humphreys organized between 2003 and 2007.

Fine Arts continues Jos de Gruyter & Harald Thys’s playful and dystopic approach to depicting the human condition.

In this book Gabriel Lester’s prolific adventures and art practice are illustrated through an alphabetical assortment of his most prominent installations, interventions, sculptures, and films of the past fifteen years.

This exhibition catalogue accompanied Megerle’s exhibition at Kunsthalle Lingen in the fall of 2010. Birgit Megerle’s figurative and abstract paintings are characterized by an artificial, rigid, and stage-like atmosphere. (Germ./Engl.)

Published on the occasion of her project at MUSAC Museo de Arte Contemporáneo in León (January–June 2013), this publication offers the first comprehensive survey on the work of Slovenian artist/architect Apolonija Šušteršič. (engl./span.)

Prints by Jennifer Bornstein gathers together a body of work encompassing her latest projects in printmaking during a recent fellowship at the Radcliffe Institute for Advanced Study at Harvard University.

Texts by Curzio Malaparte, André Parinaud, Hélène Vanel, Jessica Warboys. (engl.)

This book appears as a result of Åsdam’s 2010 exhibition at Bergen Kunsthall, and the production of his two new films Abyss and Tripoli (both 2010). (Engl.)

Published on the occasion of his solo exhibition at Kunsthalle Basel (June–August 2012), this publication includes interviews and images of the work of the Los Angeles-based artist Paul Sietsema (Quelle: Verlag).

The Cybermohalla project takes on the meaning of the Hindi word mohalla (neighborhood) in its sense of alleys and corners, relatedness and concreteness, as a means for talking about one’s “place” in the city.

Martin Beck’s exhibition “Program” at the Carpenter Center for the Visual Arts comprised a sequence of interventions, installations, events, and displays that drew on the exhibition histories and academic pursuits of the famed 1963 Le Corbusier building at Harvard University.

The publication by Libia Castro and Ólafur Ólafsson on the occasion of the exhibition at the Icelandic pavilion at Venice Biennale 2011 is conceived as a first comprehensive overview / in depth analysis of more than ten years of their artistic practice—leading up to their most current works. (Engl.)

“An intricate web of envy, desire and aspiration.”

Arrow Factory is an independently run art space located in a narrow 200-year-old alleyway in the center of Beijing. (Engl.)

Luminary Petals on a Wet, Black Bough is an artist’s book focusing on Victor Man’s series of paintings.

All songs composed and performed by Concert (Chris Evans, Morten Norbye Halvorsen, and Benjamin Seror) (engl.)

“Why do we need a specific connection in order to see things as separate from one another? Can a thing ever be unconnected? Is the human eye even able to see the things around it as separate from each other?”

“Verbal sculptures” and “strange archaeologies”—Maria Loboda’s recent works expose prior events through sparse details of entangled secrets, material contradictions, and masked collusions. Her sculpture is both indulgently verbal and obstinately reserved (Quelle: Verlag).

This publication documents the first iteration of Belgian artist David Claerbout’s project Olympia, a digital simulation of the Olympic Stadium in Berlin.

With contributions by Agency, David Berry, Nils Bohlin, Sean Dockray, Rasmus Fleischer, Antonia Hirsch, David Horvitz, Mattin, Open Music Archive, Matteo Pasquinelli, Claire Pentecost, Florian Schneider, Matthew Stadler, Marilyn Strathern, Kuba Szreder, Marina Vishmidt; preface by Binna Choi, Maria Lind, Emily Pethick

The subject of this book is a deceased prop, an object of a particular color, the green of cinematic trickery and special effects.

Gordon Bennett: Be Polite follows the exhibition of largely unseen works on paper by one of Australia’s most visionary and critical artists, Gordon Bennett (1955–2014).

With contributions from over thirty internationally renowned curators, artists, critics, theorists, directors, and practitioners.

Inhalt concentrates on Eberhard Havekost's painting from the past ten years, focusing on work first exhibited at KINDL – Centre for Contemporary Art, Berlin (October 23, 2016–February 19, 2017).

Workshop of the Film Form provides an in-depth overview of the achievements of Warsztat Formy Filmowej (WWF; Workshop of the Film Form), a group of avant-garde artists who were working at the Leon Schiller National Higher School of Film, Television and Theatre in Lodz, Poland, between 1970 and 1977.

The question of life has always been one of modernity’s main preoccupations.

The Jahresring series is one of the longest continually published annual journals for contemporary art in Germany.

This book accompanies their major exhibition at M HKA of the same title—the term they use for their particular conception of the parallel world. Narratives and criticism by Michael Van den Abeele, Nav Haq, Jennifer Krasinksi, Dieter Roelstraete, and artist Peter Wächtler are presented along with photos, drawings, and text illustrating the unsteady barriers and tense contact between “Optimundus” and the real world. (engl.)

Lapdogs of the Bourgeoisie investigates the latent issue of class underlying the field of contemporary visual art.

Downscaled and Overthrown is the first monograph on the work of the Swiss artist Shahryar Nashat (*1975). Whether he truncates Renaissance bronze sculptures through photography, or redesigns a section of the Louvre (...) Nashat’s works and exhibitions involve his interest in art collections, art libraries, reproduction of works of art (...). (Quelle: Verlag). (English/German).

This bulletin annotates a projected wall text (shown on the cover) that introduced the research program “Dexter Bang Sinister” at Kunsthal Charlottenborg, Copenhagen. Devised by Stuart Bailey, Lars Bang Larsen, Angie Keefer, and David Reinfurt, the program, like this bulletin, was based on Larsen’s just-completed PhD dissertation at the University of Copenhagen, A History of Irritated Material: Psychedelic Concepts in Neo-Avantgarde Art. The idea was to contrive a popular version of his academic thesis by editing it psychedelically. (engl.)

In ten picnics, Futurefarmers journeys through fields of inquiry ranging from philosophy to ecology, microbiology, astrobiology, environmental science, geography, and urban studies. Comparing today’s practices with those in 1968, researchers discuss the changing landscape of their field and the tools they use or invent to gather, quantify, and measure their research. (engl.)

This publication expands a 2014 multisite contemporary art exhibition that took place in Nanaimo, British Columbia, a small city on the eastern edge of Vancouver Island.