For the first volume in The Leporello Series, Heimo Zobernig makes optimal use of the accordion format, allowing rhythmic wording and typography to seamlessly transcend from individual words and phrases to shapes and structure.

Inhabiting a space between book and paper sculpture, the leporellos are printed on delicate Mohawk Superfine Eggshell paper. Each volume in the series is limited to 250 numbered copies and come in a bespoke rigid box, with the title hot foiled both on its front and on its spine, allowing it to sit comfortably in a bookshelf when not on display.

Heimo Zobernig is an Austrian artist widely acclaimed for his works in a variety of media, ranging from painting and sculpture to video, performance and site specific installation and design.

Produced on the occasion of the exhibition Calligraphies, Permutations, Cut Ups at Galerie De France, Paris, 16 December, 1986–17 January, 1987

Brion Gysin was a painter, writer, sound poet, performance artist and inventor of experimental devices born in Taplow, Buckinghamshire.

He is best known for his use of the cut-up technique, alongside his close friend, the novelist William S. Burroughs. With the engineer Ian Sommerville he also invented the Dreamachine, a flicker device designed as an art object to be viewed with the eyes closed. It was in painting and drawing, however, that Gysin devoted his greatest efforts, creating calligraphic works inspired by cursive Japanese “grass” script and Arabic script.

*Please note this publication is secondhand and has some traces of previous ownership, including library stamps and stickers.

Over the last forty years, Moyra Davey’s work in photography, film, and text presents a wide-ranging model of engagement with the world: reflections on producing and consuming, on writing and reading, and on novelty and obsolescence. Based on Davey’s eponymous 2019 film of the same title, i confess triangulates the lives and work of three writers: the American novelist and essayist James Baldwin, the Québécois revolutionary Pierre Vallières, and Ottawa-based political philosopher Dalie Giroux. With Baldwin’s 1962 novel Another Country as its point of departure, the narrative arrives at the work of each figure in succession, threading themes of race and poverty, language, and nationalism into Davey’s personal chronicle of the 1960s and 1970s;a turbulent period of Québécois history marked by separatism and violence, unresolved to this day.

With text by Moyra Davey, Dalie Giroux, Andrea Kunard. Designed by Santiago da Silva.

Produced on the occasion of ’Pataphysics and Transactions Between Barry Flanagan And John Latham at Flat Time House, London, 2 April–17 May. Curated by Jo Melvin, Palindromes looked at Barry Flanagan and John Latham’s preoccupation with ’pataphysics and provided a framework for dialogues between Barry Flanagan and John Latham. ’Pataphysics is defined by its inventor, Alfred Jarry, the Symbolist poet and writer, as ‘the science of imaginary solutions.’ It preoccupied Flanagan from the early 1960s before he enrolled on the Advanced Sculpture Course at St Martin’s School of Art in 1964, where he met John Latham who was at that time teaching in the painting department.

*Please note this publication is secondhand and has some traces of previous ownership, the cover has slight sun damage.

Tris Vonna-Michell’s artist’s record/book is constructed around two works, Capitol Complex (2012–2014) and Ulterior Vistas (2012–2013), both of which are encapsulated on a ten-inch vinyl record. The spoken-word compositions are enclosed within a gatefold design and accompanied by the Capitol Complex manuscript as a booklet insert and a bound series of Ulterior Vistas photographic montages.

British artist Tris Vonna-Michell (born 1982 in Southend-on-Sea, England, lives and works in London and Berlin) is a memory traveler who runs through the past and present. In his works, images, sound, light, and the most ordinary objects become the material of a totally individual experience where reality and fiction merge, and journey, memories, and invention coexist.

More information on the work can be found here and here.

Produced on the occasion of Josef Strau’s exhibition at Kunstverein für die Rheinlande und Westfalen, Düsseldorf, 3 September–22 November, 2020, the first comprehensive institutional solo exhibition by Strau in Germany.

The exhibition brought together objects and text production made between 1991 and 2020 as an attempt to create an autobiographical depot, as if these objects were simply the result of time or of durations of psychological states, such as fear and anxiety, and sometimes also of desire. Strau’s complex, nested retrospective vessel contains, in addition to everyday stories, a random selection of objects representing, among other things, tigers, temples, tears, fences, children’s letters, angels, icons, and cured turtles. The most recent work is a spider clock, The 13 Hour Cymbal Spiderclock that exhales the Dreams, which announces a new time beyond the usual twelve hours.