QUEER TIME — ASYMPTOPES OF ARTICULATION is about moving through queer time and language, modular and folding, communities, communal, traces, memories, collapsing and building.

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:

Die antikolonialen und antirassistischen Bewegungen des 20. Jahrhunderts gingen mit künstlerischen und theoretischen Gegenentwürfen zur Exklusivität der westlichen Moderne einher.

Ein Buch über 1971 und die Zeit davor, Freiheit als Bild, die Materialität eines Übergangs, Musik, Sexualität und was ein aus Italien kommender, in Kairo geborener crooner in Berlin verliert: Ricky Shayne

Body. Listening. Book. Library. Institution. How can art libraries be generative resources and sites of action for all who identify as queer, as women, as Black, as Indigenous, as people of colour? What does it mean to consider the art library as a collective practice that spans multiple scales?

In the Making: In the Desert of Modernity: Colonial Planning and After. A Research-Based Practice is about the working method of the artist and exhibition maker Marion von Osten.

Tabea Blumenschein (1952–2020), Hilka Nordhausen (1949–1993) und Rabe perplexum (1956–1996) waren exzentrische Künstler*innen der achtziger Jahre – sie agierten abweichend von Normen und außerhalb des Zentrums im subkulturellen Milieu.

A Female Gaze explores the paintings and drawings of contemporary artist Caroline Walker through the lens of Laura Knight, arguably Nottingham's most famous artist and the first woman to be elected a Royal Academian.

"If it is somehow identifiable as part of a referential system, we immediately understand the meaning of a line on a piece of paper. A horizontal line will be easily read as a minus, an em dash or a way on a map, no matter how sloppily it is written or drawn."

"In a house you wanted to intrude, searching for a narrative you've detected between a character, images and photographs. I remember bumping against a floor lamp, causing its glow to waver briefly. Trying to ascertain the transmissions while already standing in front of objects that demand to be looked at."

The apparent primary goal of Eric’s treatise is to define something called ‘the Real’, with the help of a patchwork of theoretical materials drawn from contemporary mathematics, mathematical physics, ‘neurophysics’ and continental theory. Other topics in the text,

Forked Apologies gathers twenty-five texts by Michael Van den Abeele, all but two written on invitation by fellow artists and architects in the course of the last ten years. Drawings by Michael Van den Abeele of the concerned works and exhibitions accompany the texts. In fiction or description,

Surreal arrangements of artifacts from skulls and teapots to fried eggs and dirty socks by Théo Mercier. Théo Mercier (born 1984) employs found objects in his photography and sculpture to subvert viewers’ expectations. His inaugural monograph reveals the impressive scope of his oeuvre.

“Erasure is a visual depiction of the modernist erasure of graffiti. It is authored by X, the artist, and I merely the conceptual constructor of what X had innocently, non-artistically performed.” – Eldon Garnet

arbitrary presents the third in the “Black Box” series of releases by Mads Emil Nielsen. The release, which showcases a more sample and grid-based side of the Danish musician/composer’s work, is part of a sequence of publications with music and audio originally made for theatre, radio soundtracks and more.

arbitrary presents “Delirious Cartographies” (arbitrary13) by composer, improviser and synthesist Richard Scott. Part of the Danish imprint’s Framework editions, this release includes three pieces on 12" vinyl and six printed drawings – as well as a text by Scott – published as a limited edition portfolio folder.

In “Playing with Ludwig”, artist Nikolaus Gansterer and philosopher Klaus Speidel adress fundamental questions of sense making in language and visual forms. In a playful dialogue with the writings of Ludwig Wittgenstein, they tackle subjects like pain and pictures,

This special issue is the cataLog for “Model Behavior,” a group exhibition of models, architectural and otherwise, curated by the Anyone Corporation and presented by The Irwin S. Chanin School of Architecture at The Cooper Union, in New York City. The exhibition, which ran October 4–November 18, 2022, questioned the role of the model in projecting or eliciting social behavior.

Gaëlle Lauriot-Prévost and Dominique Perrault invited the historian Frédéric Prot and the photographer Philippe Chancel to reveal, both in writing and images, this radical work by the architect Jean Dubuisson that he designed during the 1960s, as well as the commitment of his client André Weil to build a domain at Pontpoint.

Over the years 1919–20, the celebrated medical scientist and doctor Carl Julius Salomonsen began giving public lectures and publishing pamphlets regarding a new “epidemic” that had begun to affect the European populace: the increasing ubiquity of modernist art.