In the media theatre of contemporary culture, a drama unfolds: While the human sense of “the present” is challenged by the immediacy of analog signal transmission and the delays of digital data processing, a different (non-)sense of time unfolds within technologies themselves.

It is said that we know more about far-away galaxies than we do about the bottom of the oceans on earth.

Three interconnected palimpsest essays.

Evolving from his graduation project at the University of Applied Arts Vienna entitled The Creator Has a Master Plan, which was awarded the Kunsthalle Wien Prize 2014, Leander Schönweger developed an installation at Kunsthalle Wien Karlsplatz that indicates mysteries, rather than offers solutions.

The essay is joined by responses from Daniel Birnbaum and Isabelle Graw, followed by the author’s replies.

Throughout the 1980s and early ’90s, Kim Gordon—widely known as a founding member of the influential band Sonic Youth—produced a series of writings on art and music. Ranging from neo-Conceptual artworks to broader forms of cultural criticism, these rare texts are brought together in this volume for the first time, placing Gordon’s writing within the context of the artist-critics of her generation, including Mike Kelley, John Miller, and Dan Graham.

Theater of Exhibitions analyzes “art after the end of art,” questioning whether inherited frameworks of making, theorizing, and exhibiting art still apply to contemporary practice. The book also considers the current commodification of the art industry and the distribution of images in the digital age.

The Kunsthalle Wien Prize was established in 2002 and is awarded in collaboration with the University of Applied Arts Vienna and the Academy of Fine Arts Vienna. Yarovenko is the joint recipient of the 2015 prize. Along with a color insert, this publication includes an essay on the artist’s work by Hemma Schmutz, a conversation between the artist, Lucas Gehrmann, and Nicolaus Schafhausen, as well as forewords by Eva Bliminger and Schafhausen.

Karina Mendreczky is the joint recipient of the 2015 Kunsthalle Wien Prize. Along with a color insert, this publication includes an essay on Mendreczky’s work by Bärbel Vischer, a conversation between the artist, Lucas Gehrmann, and Nicolaus Schafhausen, as well as forewords by Gerald Bast and Schafhausen.

After Venusia (2005) and Mercury Station (2009), both published by Semiotext(e), New Dystopia is Mark von Schlegell’s third novel.

(Engl./French)

The Portikus is an exhibitions space that is associated with the Städelschule in Frankfurt am Main.

Becoming Palm is the outcome of a conversation between two friends, artist Simryn Gill and anthropologist Michael Taussig, addressing the complexities of palm oil and “the enormous transformations, human, and ecological, that this crop engenders” (Taussig) in two disparate geographical locations, Southeast Asia and South America.

In this precious book, Sallas shares his folding wisdom, which Charlotte Birnbaum contextualizes in two essays on the history of napkin folding. The texts are accompanied by an illustrated catalogue of folding techniques.

Art Always Has Its Consequences: Artists’ Texts is a collection of manifestos, critical texts, and writings addressing public issues written by artists and artist groups from Eastern Europe between 1947 and 2009.
(Engl.)

Art Always Has Its Consequences: Artists’ Texts is a collection of manifestos, critical texts, and writings addressing public issues written by artists and artist groups from Eastern Europe between 1947 and 2009.

“The idea behind Donnerstag was to insist on the difference between good art and bad art. I am aware of how anachronistic that sounds and how quickly it evokes the image of an old critic-pontiff wagging his authoritarian pointer finger.”

In Going Public Boris Groys looks to escape entrenched aesthetic and sociological understandings of art—which always assume the position of the spectator, of the consumer.
(Engl.)

Welcome to Finland, a young land of rapid aging, where newly founded institutions are already outmoded and geographic impediments are a constant crippling agent.

We encounter the world through surfaces: the screen, the page, our skin, the ocean’s swell. Here on the sea is the surfer, positioned at the edge of the collapsing wave. And lurking underneath in a monstrous mirroring is the shark. When the two meet, carving along the surface, breaking through the boundary, is when death appears.

The texts assembled in this book began their formation during Charlotte Moth’s residency in Bleckede in 2009. Founded on the basic principle to comment and react on events, images, or situations, different artists, writers, and curators have since then been invited to respond on material chosen by Charlotte Moth.

The exhibition “The Promise of Total Automation” investigated our relationship to a world of machines, technological objects, and electronic devices.

Solution 214-238: The Book of Japans is part of the Solution series, edited by Ingo Niermann and designed by Zak Kyes.

Solution 9: The Great Pyramid is the first in the forthcoming Solution series where authors will be asked to develop an abundance of compact and original ideas for other countries and regions.
(Engl.)

Memoirs of a Hypnotist: 100 Days, an intimate and hardly qualifiable document by Marcos Lutyens.

In 1985, the body of Josef Mengele, one of the last Nazi war criminals still at large, was unearthed in Brazil.

This book focuses attention on the implications of the following undertaking: Can one be an artist without making anything that is easily defined as art even at a moment when nearly everything can be so designated?
(Engl.)

A “politics of listening” is an intervention into and a reorganization of forms that listening takes rather than a call for free speech or for a platform for voices to be heard.

Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios maps and analyzes the complex and contested entanglements of contemporary art and its commercial markets.

Keller Easterling’s volume in the Critical Spatial Practice series analyzes the urgency of building subtraction.

Weizman and the architect Samaneh Moafi constructed a folly composed of seven roundabouts and a round table in front of the Gwangju train station, one of the central points in the events of May 1980.

In architectural history, just as in global politics, refugees have tended to exist as mere human surplus; histories of architecture, then, have usually reproduced the nation-state’s exclusion of refugees as people out of place.

Focusing on Rudofsky’s encounters with Japan in the 1950s—he described postwar Japan as a “rear-view mirror” of the American way of life—architectural historian Felicity D. Scott revisits the architect’s readings of the vernacular both in the United States and Japan,

The publication includes a series of interviews with artists who exhibited at Objectif Exhibitions, Antwerp, over a two-year period, along with a collection of secondary and parallel material produced in collaboration with each artist.

After the infamous split in the Situationist International in 1962, the Danish artist J. V. Martin was unexpectedly put in charge of the group’s Scandinavian section.

This book presents the key figures and the basic concepts of Lettrist cinema.

Following From Berkeley to Berkeley: Objectif Exhibitions, 2008–2010, this publication is the second in a two-part series of interviews with artists who exhibited at Objectif Exhibitions, Antwerp, between 2010 and 2011. (engl.)

Lacaton and Vassal’s principle of doubling space is echoed in the book’s treatment of photography: black-and-white exterior shots that run alongside the text form a dialogue with corresponding full-color photographs of each interior, gathered at the end of the book.

The relationship of art to work and the conditions of artistic production has long engaged many in the field of visual art. Work is a broad concept, the meaning of which has changed radically as a result of the social and technological transformations that have taken place over the past century. (engl.)

"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.

This publication documents the 2016 exhibition “One, No One and One Hundred Thousand,” which took place at Kunsthalle Wien, Karlsplatz. Curated by Luca Lo Pinto, the show took its inspiration from Oulipo, a literary strategy whose objective was to propose new “structures” for writing that were mathematical in nature.

Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterized by a formal rigor combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications.

Kate Newby’s works celebrate the moments in which they are created and presented; at the same time, they are open to change. Drawn from impressions collected when navigating cities and landscapes, her sculptures and interventions foreground process:

The oceans are rising. On the rise are the metrics of accelerated human activities: sea level, water temperature, acidity, algal blooms, and the depletion of fish communities and marine life. The loss of abundance and diversity has devastating effects on the services the oceans render to the earth, exhausting their unrecognized labor of

In over 1,300 pages, The Commissions Book engages in depth with more than one-hundred works of art. The publication organizes and weaves together sequences of potential narratives and interrogations, along with close examinations of different works of art and an archive of images. The stories embedded in these works, as well as in the foundation’s work, and that of TBA21–Academy, an itinerant site of transdisciplinary research and cultural production engaging with the oceans, are stories of making new connections across

Mierle Laderman Ukeles's manifesto ''Maintenance Art--Proposal for an Exhibition'' (1969) was a major intervention in feminist performance practices and public art. The proposal argued for an intimate relationship between creative production in the public sphere and domestic labor--a relationship whose intricacies Ukeles has been unraveling ever since. In 1977, she became the unsalaried Artist-in-Residence for the New York City Department of Sanitation, a position that enables her to introduce radical public art into an urban municipal infrastructure.

Rehousing is the title of a series of works by Peter Friedl which comprises a selection of individual, intricate, and true-to-scale models of houses. Collectively, these structures materialize as constructed environments that reflect the recent past, different biographies, and ideologies in diverse ways; they are “case studies for the mental geography of an alternative modernity.”