In 1992, Dutch artist Job Koelewijn directed a landmark intervention, The cleaning of the Rietveld pavilion, performed by three women of his family dressed in traditional attire.

25 years later, conceptual artist Alina Lupu has updated Koelewijn’s piece to a society reshaped by neoliberalism, and to the working conditions of cleaning personnel within the gig economy. The green-blue color of the publication’s cover references the cleaning platform Helpling. Designed by Till-Michael Hormann after an idea of Job Koelewijn.

Pulling together field recordings from international soundscapes, Somewhere I’ve Never Been follows the author’s account of loss and being alone in a self-started journey through the US, Europe and the Middle East. One part of an expanded narrative on many platforms (more at: http://thepoweroflove.cz/), and against the grain of dominant visual narratives, the book is told through the sounds of corporate expansion and pop cultural hegemony heard in an ever-uneven era of globalisation and cultural mediation.

Drawn away from the music of loaded family pasts and brittle presents to the sprawling inertia of a US road trip, Kretowicz is hooked by Jason Derulo, Fairuz, Harry Partch, Lipgloss Twins, poorly pronounced Polskibus safety announcements, the crucial influence of Celine Dion; in the end pulled back to the jarring patter and endless shifts of London.

Editing: Tom Clark, Design: Maria Mitcheva, Additional editing: Aimee Cliff and Katie Lenanton.

Mitchell Anderson, Marie Angeletti, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, Stefan Burger, David Bussel, Eric D. Clark, Jay Chung, Tony Conrad, Eduardo Costa, Hans-Christian Dany, Nikola Dietrich, Levi Easterbrooks, Martin Ebner, Stephanie Fezer, Julian Göthe, Dunja Herzog, Karl Holmqvist, Stephan Janitzky, Verena Kathrein, Jakob Kolding, Chris Kraus, Veit Laurent Kurz, Quinn Latimer, Park McArthur, Robert McKenzie, Robert Meijer, Luzie Meyer, Ariane Müller, Shahryar Nashat, Viktor Neumann, Theresa Patzschke, Monika Senz, Natasha Soobramanien, Vera Tollmann, Anne Turyn, Antek Walczak, Mikhail Wassmer, Scott C. Weaver, Florian Zeyfang.

Editors: Gerry Bibby, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen. Graphic design: Dan Solbach. Cover: Martin Ebner, Shibuya/Sumida, 2017. Park McArthur for Starship, Studs, 2018. 1000 magazines pierced and bejeweled.

Published on the occasion of the exhibition of Tomma Abts at Galerie Buchholz, 2017. It animates the artist’s 7 part series of drawings Untitled #1–7, 2016 as a sequence.

Published on the occasion of Heinrich Hoerle 1895–1936 Werke Aus Dem Nachlas at Von Der Heydt-Museum, Wuppertal, 7 April–12 May, 1974. Heinrich Hoerle was a German constructivist artist of the New Objectivity movement and one of three core members of the Cologne Progressives. Born in Cologne, he studied at the Cologne School of Arts and Crafts but was mostly self-taught as an artist.

The works of Daniel Gustav Cramer are based on accurate observations of ‘invisible’ moments that only reveal themselves at a second glance. In his photographs, text works and books, he depicts structured systems as well as personal experiences; large scale objects are next to the smallest ones, nothing is obvious. The work opens up in reflection.

Thirty-Six presents thirty-six works by Daniel Gustav Cramer in the restricted space of a book. It is an exhibition of Cramer’s works in its own right, that exceeds mere documentation and makes for multi-faceted new associations and moods.

Thirty-Six was published as part of the exhibitions Eight Works at Dortmunder Kunstverein, Germany and Six Works at the Return, Dublin, Ireland. The publication is a continuation of the recent exhibition series.