Produced on the occasion of R.H. Quaytman: The Sun Does Not Move, Chapter 35, Muzeum Sztuki, Lodz, a kind of conceptual retrospective, where the artist has re-read earlier Chapters of the constantly developed project, and returned to its origins closely related to Lodz and the works by Katarzyna Kobro and Wladyslaw Strzeminski. Apart from precisely selected works from earlier chapters, the exhibition has presented new paintings in which R.H. Quaytman continues her dialogue with the work of Polish artists and explores other aspects of her personal relationship with the Lodz museum.

Dovetail offers the first monographic overview of Kasper Bosmans’ oeuvre to date. The book is richly illustrated with photographs of individual works and exhibition views, including a collaboration with artist Marina Pinsky. With texts from Piero Bisello, Phillip Van den Bossche, Martin Germann, Zoë Gray & Julia Mullié.

Designed by Nerijus Rimkus.

When she started writing the Corona Tales, Chus Martínez had been weighing how people and the media were addressing the outbreak of the virus as an unprecedented disaster. One possible contribution, as curator and writer, would be to write a short story a day and post it on an Instagram account that many could access…

For more than twenty years, Jean-Luc Moulène has developed a complex body of work, both analytical and mysterious. Moulène’s works explore the question of representation in his chosen media, while at the same time drawing on their essential physicality and materiality to engage tirelessly with political, social and ontological issues ‘made flesh’—notably through the concept of ‘transaction’.

This monograph spans forty years of drawings and works on paper, offering an insight into a lesser-known part of Moulène’s artistic practice. A jubilant documentation rich with autobiographical elements.

Consisting of an internal report written by conceptual artist and philosopher Adrian Piper in 1998, Necessary Questions takes Wellesley College, Massachusetts—where she was then on staff—as a case study in institutional racism and neglect. As such, the report could be read simply as an administrative document, though one drenched in meticulously clear advice that could still be, despite being written twenty-three years ago, taken up on a glaringly universal level. Yet the role it went on to play in Piper’s life proves it’s not just a context-specific document, but an all-too-real example of exactly what it stood against: the ways in which the langue of protocol and the false façade of civility are utilised as tactics to ensure that one stays in their place.

It is the third title from Unbidden Tongues, a series edited by Isabelle Sully that focuses on previously produced yet relatively uncirculated work by cultural practitioners busy with questions surrounding civility and civic life—particularly so in relation to language.

Experimental Jetset’s second volume in its self-reflective series is an inquiry into the role of the city as an infrastructure for language and vice versa, seen through the lens of four significant movements: Constructivism, Situationist International, Provo, and Post-Punk. Emerging from a research project and exhibition by the design studio, the book features extensive footnotes by 20 guest authors, including Linda van Deursen, Owen Hatherley, Adam Pendleton, Simon Reynolds, Lori Waxman, Mimi Zeiger, and others. An added bonus: it comes with a 26-page zine, zooming in on the design typology of the original exhibition.