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

The Leporello by Sandra Peters is an object playing with a combination of introductory text paragraphs and signature images documenting her work.
Folding and unfolding the pages creates spaces for thinking and reflecting Peters sculptural work which deals with the concept of sensual experiences in two and three dimensions.

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.

Dangerous Bodies brings together artist Barbara Kapusta’s recent writing. Designed by Sabo Day Font: Silom, Dangerous Bodies

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.