Edited by Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh. Texts by Max Andrews and Mariana Cánepa Luna (Latitudes), Helen Hughes, Ana Teixeira Pinto.

This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition Limits to Growth. The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun. Featuring an in-depth series of conversations between the artist and the Barcelona-based curatorial collective Latitudes, and essays by Ana Teixeira Pinto and Helen Hughes, this publication is richly illustrated with documentation of Mangan’s artworks and historical source material.

Copublished with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne. Design by Žiga Testen.

Published in conjunction with the first solo museum exhibition of the work of Sanja Iveković in the United States, this volume is the most comprehensive survey on the artist available in English. A feminist, activist and video and performance pioneer, Iveković came of age in the early 1970s during the period known as the Croatian Spring, when artists broke free from mainstream institutional settings. This catalogue presents an overview of the artist’s projects from the early 1970s to 2011 in all mediums, offering a fascinating view of gender roles, the official politics of power and the paradoxes inherent in a society’s collective memory. Featured works include Iveković’s historic single-channel videos, performances and sculptural installations as well as a selection from Double Life (1975–76), her celebrated series of 64 photocollages. Weaving together art-historical analysis and political theory, the publication offers a critical examination of the neo-avant-garde in former Yugoslavia and investigates the theme of violence in art.

Tomio Miki (1937–1978), who exhibited among a group of avant-garde, politically active artists in Tokyo in the late 1950s and early 1960s, settled in 1963 on the human ear as his primary sculptural subject for the next several years. He often depicted them individually, on a giant scale. Sometimes he combined ears with other elements, such as spoons or colored lights, or made series of them set in rows or in boxes. Miki spoke quixotically about his choice of the ear, saying that it originated in an “experience in a train, when, for no reason, I suddenly felt myself surrounded by hundreds of ears trying to assault me. This personal episode, however, wouldn’t be any precise answer to why I make ears. I can hardly say I chose the ear. More precisely, isn’t it that the ear chose me?”

Dark web gamers, virtual posers, nomadic dreamers, far-out spacers and mystic tracers ~ The Griefers of Bandung transmits the voices of a generation on the cusp of its own rising sign….

Synopsis: Dutch art student Elsemieke Kiekens has just spent the last three months in Bandung, searching for love and fighting alongside a local activist collective. Meanwhile, her virtual avatar Virgo has become a resistance hero involved in weapons-trafficking, corporate-boycotts, rally-organising, illegal-fundraising and cybertheft. It turns out the effects of these operations are not limited to cyberspace. Now, overwhelmed by a series of unexpected encounters, Elsemieke finds herself on a plane back to the Netherlands. She is soon to understand that the worst is yet to come.

The Griefers of Bandung is published in the context of the DAI 2016–17 COOP Academy Publishing Class, I Left my pdf in Arnhem, curated by Sarah Pierce and Tirdad Zolghadr.

Move Along is an instruction manual for open ended games, actions and interventions to untrain the body and recondition space. The manual outlines simple instructions for twelve activities that doesn’t usually require special skills or equipment.

Written and designed by Dutch designer Ilke Gers.

Zolang je niet zo over problemen praat zie je er toch niks van / As long as you don’t talk about problems so much you won’t see them anyway is a photobook about empathy in psychiatry. Portraits of people in conversation and observations in body language are combined with textual dialogues. This project originated during a residency in Het Vijfde Seizoen, the residency on the terrain of a psychiatric institution in Den Dolder, NL. In the book you are made to ponder the (in)ability to place yourself into another’s shoes, the absurdity of mental illness as well as the familiarity and humanity of those who suffer from voices in their head, delusions, psychoses and depression. The title is a quote from one of the portrayed patients and brings to doubt the work itself and the possibility to photograph something that is so complicated.