Katja Mater’s series Time is an Arrow, Error entails layers of duration. The process begins with a drawing of half an analogue clockface. The drawing is then photographed in natural light, producing two separate negatives that each capture the image over different extended exposures. Subtle shifts in light lead to variations in colours and, in some cases, the uneven transcription of shadows on the photographic plate. Finally, one of the two semicircles is flipped or rotated, resulting in a whole clock formed by two irregular halves. The steady passage of mechanised time is thus expressed in imprecision and irresolution. Designed by Elisabeth Klement and with a text by Amelia Groom.

This volumnious book in a clinical white vinyl sleeve suggests high tech content, as if it belongs to a laboratory. Within a wide space of white and light grey pages—which could represent painted walls of a white cube—39 works by conceptual Belgium artist Steve Van den Bosch are exposed. The photographs are taken by a forensic photographer and the text, entitled Event reconstruction from trace images: an original methodology, comes from the Swiss Institute for Police Science. The book itself is #40 in the list of works and printed in a limited edition of 300 copies. Designed by Steve Van den Bosch and David van Mieghem.

Produced on the occasion of Haegue Yang: Arrivals at Kunsthaus Bregenz, 22 January–3 April, 2011. This publication is the third in a series of catalogues raisonnée assembled by Kunsthaus Bregenz: compiled by Katharinea Schwerendt, this catalogue comprehensively covers the work of Haegue Yang. With texts from Marina Vishmidt, Anders Kreuger and Yilmaz Dziewior. Designed by Yvonne Quirmbach.

Produced on the occasion of Florian Pumhösl’s 2012 exhibition at Kunsthaus Bregenz, it documents the exhibition and also catalogues all of Pumhösl’s exhibitions since 1993. The exhibition consisted of plaster panels in three different sizes grouped in threes, the order of each trio beginning with the smallest and ending with the largest format. The progression of the 45-piece series of 15 subjects, subtitled Cliché, takes its lead from the Bauhaus artist László Moholy-Nagy’s enamel pictures. In contrast to Moholy-Nagy, who delegated the task in the case of his telephone pictures to a specialist firm, Pumhösl himself applies the formal effects to his panels using what he refers to as a cliché stamp.

With texts from Juli Carson, André Rottmann and Yilmaz Dziewior. Designed by Yvonne Quirmbach.