Body Starting to Change is a conversation on music between two artists. When in 1960s despite the official ban foreign radio stations gained in availability within USSR, the newscasts and political comments broadcasted by them became an important part of alternative education. Musical programmes were of no less or perhaps of even more importance as they exposed the vitality of youth culture (or subculture) behind the Iron Curtain. Deimantas Narkevičius shares his musical experiences with Elena Narbutaitė, starting with this period of ‘catching waves’ and continuing until 1993, when the introduction to the London music scene became the turning-point (sooner or later experienced by many) in the artist’s relationship to the changing urban culture. The publication includes watercolours by Elena Narbutaitė, the reproduction of the cover of Satori, an album by Flower Travellin’ Band, stills from July 20, 2015, the (then) new film by Deimantas Narkevičius, and graphics by Mark Geffriaud.

Published as part of the XII Baltic Triennial. Designed by Julie Peeters.

Memories of the Star (Žvaigždės atsiminimai) is an artist book by Elena Narbutaitė published in two separate Lithuanian and English editions alongside the artist’s solo exhibition Prosperity at the Contemporary Art Centre, Vilnius, 16 June–14 August, 2017.

With texts from Elena Narbutaitė, Candice Lin, Marcel Proust, Bernardo José de Souza, Luca Turin, Raimundas Malašauskas. Designed by Vytautas Volbekas and insert designed by Goda Budvytytė.

Documentation of the exhibition can be seen here.

Produced on the occasion of the artist’s survey exhibitions at MAAT, Lisbon, and Palais de Tokyo, Paris, in 2024–2025.

Vivian Suter’s gestural works are the result of a daily, physical and emotional relationship with the materials and the contingencies of nature in the subtropical ecosystem where she lives and works. Rain, earth, humidity, light, flora, and fauna often inhabit her unstretched canvases, expressing her close interaction with external factors and her break with the traditional notion of controlling authorship, to create a versatile and monumental body of work, visually incomparable—an ode to the possibilities of painting.

Edited by Clément Dirié, François Piron, Sérgio Mah.

Produced on the occasion of Nat Faulkner’s exhibition Strong water at Camden Art Centre, 16 January–22 March, 2026.

1:1 presents an extensive series of hand-produced contact prints by the artist, derived from a single large format image taken by Faulkner of a peppered moth (Biston betularia) – a widely studied example of ‘industrial melanism’. During the Industrial Revolution soot from factories darkened the bark of trees and through a process of natural selection the lighter form of this moth, once well-camouflaged, became more visible to predators and its numbers diminished. Meanwhile, a darker (melanic) variant became more common, due to being better camouflaged against the soot darkened trees. This phenomena, the artist has observed, holds resonances with the processes of photography itself – in the production of positive and negative images.

With texts from Gloria Hasnay and Sean Steadman. Designed by George Haughton.

Produced in conjunction with Le Consortium, Dijon, on the occasion Chris Burden’s exhibition, 29 October, 1994–8 January, 1995.

Chris Burden was an American artist working in performance art, sculpture, and installation art. Burden became known in the 1970s for his performance art works, including Shoot (1971), where he arranged for a friend to shoot him in the arm with a small-caliber rifle

*Please note this publication is secondhand and may have some traces of previous ownership.

An anthology of writings including Tina Lhotsky, Reese Williams, Anne Turyn, Constance Dejong, Peter Nadin, Roberta Allen, Glenn O’Brien, Gary Indiana, Kathy Acker, Richard Prince, Sylvia Reed, Robin Winters, Tricia Collins/Richard Milazzo, Cookie Mueller, Lynne Tillman, Paul McMahon, Spalding Gray, and Wharton Tiers. Edited by Richard Prince.

*Please note this publication is secondhand and may have some traces of previous ownership (damaged spine and binding).