This publication is the record of the improvised collaboration between Jeremiah Day and Simone Forti. Day’s work spans photography, installation and storytelling, and employs intensive research to establish connections between himself and places of public significance; while Forti is an artist with links to the origins of postmodern dance in New York in the early 1960s, and whose practice has more recently involved poetic writing. Day studied improvisation with Forti in Los Angeles, and in 2007 the two collaborated on an exhibition at Project Arts Centre, Dublin. With essays by Fred Dewey, Tessa Giblin and Simone Forti.

This artist’s book designed by Belgian artist Olivier Foulon is the result of a years-long research into Isa Genzken’s abandoned sculpture project Ring, a public sculpture originally planned for the exhibition Beelden in de Stad/Sculpture in the City as part of Rotterdam ’88 from 13 May–1 October 1988, whose various prefabricated parts allegedly still lie dormant in the port of Rotterdam. It features two essays on Isa Genzken by Jan van Adrichem, a section gathering archival documents, and a comprehensive press kit referring to the aborted project.

French artist Joëlle de la Casinière, Portuguese artist Ana Jotta and Flemish artist Anne Mie Van Kerckhoven have in common to pay no fealty to trends of contemporary art. Moreover, they fought unwaveringly throughout their respective careers the need to see their work being given an “official line”. Instead, they stood aside, went underground or remained indifferent to the twists and turns of the art market and institutions. They sometimes created surrogate characters, hid, or playfully modified their names to react to the branding of identity in the artworld, and to the imposed marginalization that they had to cope with as women artists, as did artists living in peripheral geographies. In a way, paradoxically, being marginalized encouraged a calculated versatility of media and styles, and the invention of an idiosyncratic vocabulary, while total freedom remained their one and only rule.

Published on the occasion of the eponymous exhibition at Malmö Konsthall in 2019. More information on the exhibition can be found here.

The tenth issue of the biannual journal-collection that brings together academic writings, interviews with artists, critical essays and artists’ interventions in the form of inserts.

With & about Sara de Chiara, Rafael Corcostegui, Moyra Davey, Pierre Dulieu, Guillaume Dustan, Jana Euler, Sylvie Fanchon, Jim Fletcher, Alexander García Düttmann, Jeanne Graff, Gary Haller, Alex Hay, Martin Laborde, Daniel Lentz, Mina Loy, Liz Magor, Nick Mauss, Nicolas Moufarrege, Baptiste Pinteaux, Richard Rezac, Clément Roussier, Edith Schloss, Albert Serra, Pierre Thévenin, Belén Uriel, Charles Veyron, Robin Waart, Emily Wardill, Román Yñán.

Edited by Alice Dusapin, Martin Laborde, Baptiste Pinteaux, Alice Pialoux. Designed by Marc Touitou & Robert Milne.

A masterpiece of surrealist fiction, steeped in controversy upon its first publication in 1984, Blood and Guts in High School is the book that established Kathy Acker as the preeminent voice of post-punk feminism. With 2017 marking the 70th anniversary of her birth, as well as the 10th year since her death this transgressive work of philosophical, political, and sexual insight—with a new introduction by Chris Kraus—continues to become more relevant than ever before.

In the Mexican city of Merida, ten-year-old Janey lives with Johnny—her “boyfriend, brother, sister, money, amusement, and father”—until he leaves her for another woman. Bereft, Janey travels to New York City, plunging into an underworld of gangs and prostitution. After escaping imprisonment, she flees to Tangiers where she meets Jean Genet, and they begin a torrid affair that will lead Janey to her demise. Fantastical, sensual, and fearlessly radical, this hallucinatory collage is both a comic and tragic portrait of erotic awakening.

German artist and 2017 Turner Prize nominee Andrea Büttner examines depictions of beggars in visual culture in an artist’s book about poverty, art history, theology, and the politics of social benefits. Büttner, whose work addresses notions of shame, vulnerability, and dignity, presents a recent series of woodcuts, as well research conducted at the Warburg Institute in London, including sixteenth-century vignettes from the “Liber Vagatorum” and a visual essay on the iconography of shepherds and kings in nativity scenes.

With contributions by Andrea Büttner, Anne Carson, Christopher P. Heuer and Linda Nochlin.