A video catalogue of the exhibition CONTINENTAL DRIFT (Conceptual Art in Canada: The 1960s and 70s) at Badischer Kunstverein, Karlsruhe, Germany, 19 April – 8 September, 2013. It was then compiled and *extremely compressed* into 24 minutes and 1 second by Dexter Sinister. The video is in English with an accompanying German transcript in this booklet. CONTINENTAL DRIFT was the first major survey of conceptual art in Canada, to be presented in Europe. It followed the emergence of local, hybrid practices and global networks within the context of the 1960s and 70s economic, social, and technological revolutions.

Had it been produced, Maryanne Amacher’s media opera Intelligent Life would have represented the summation of the composer’s concept to date. As she wrote to John Cage in the autumn of 1983, following the untimely deaths of the opera’s patrons—Wies Smals, founder of De Appel, and curator Josine van Droffelaar, in a plane crash in the Swiss Alps—she would have at last had the support to “communicate the finest of my thought to others.” Amacher’s serial, intended for broadcast, sought to transmit her evolving ideas about perception, listening, and composition to a broader public—shifting music away from “nod and tap recognition” toward a transformative practice that could awaken intelligence to “unrecognized and new perceptual modes.”

Produced on the occasion of Megan Francis Sullivan’s solo exhibition at Kunsthaus Glarus, this publication serves as a visual essay bringing together materials related to the project’s production and reception. The publication gives form to seemingly ephemeral connections that condense during the preparation of an exhibition. The booklet combines research material, installation photographs, as well as a series of drawings that were not in the show.

Edited by Melanie Ohnemus. Designed by Julie Peeters.

Produced on the occasion of the group exhibition Show Personality, Not Personal Items at Vleeshal, Middelburg, 28 January–1 April, 2018, including artists Leda Bourgogne, Nora Turato, Evelyn Taocheng Wang and curated by Roos Gortzak. Designed by Dorothee Dähler.

Black morning glory: A time for decolonial listening investigates the herbarius as both a lens through which we can analyse colonial representations of nature, and as a decolonial tool to explore new relationships with plant life. Considering the artistic research around some of the oldest kruidboeken in the Netherlands by artist M.A. van Tulder during her research residency at Huis van het boek — researcher E.A.E. Evans works through the history of science and botany, defined by patriarchal capitalism, to offer a contemporary way forward. The richly illustrated volume featuring plants, herbs, and their medicinal properties is a unique epistemological construction that has contributed to the exploitation of nature. Through Rolando Vázquez’s notion of decolonial listening, this publication asks readers: what could a decolonial herbarius, visually and discursively, be like today?

Short Term Eternity brings together two artists—Gordon Matta-Clark (1943–1978, USA) and Anu Vahtra (1982, Estonia)—whose practices are related to each other in many ways, even if they were born in different times and locations. The aim of the book is not just to compare their work, but to describe the circling of ideas and strategies in the art world from a non-hierarchical perspective. The book was produced on the occasion of Gordon Matta-Clark: Anarchitect. Anu Vahtra: Completion through removal, an exhibition at the Kumu Art Museum in Tallinn, 22 February–8 June,2019, curated by Sergio Bessa, Jessamyn Fiore, and Anu Allas.