French artist Joëlle de la Casinière, Portuguese artist Ana Jotta and Flemish artist Anne Mie Van Kerckhoven have in common to pay no fealty to trends of contemporary art. Moreover, they fought unwaveringly throughout their respective careers the need to see their work being given an “official line”. Instead, they stood aside, went underground or remained indifferent to the twists and turns of the art market and institutions. They sometimes created surrogate characters, hid, or playfully modified their names to react to the branding of identity in the artworld, and to the imposed marginalization that they had to cope with as women artists, as did artists living in peripheral geographies. In a way, paradoxically, being marginalized encouraged a calculated versatility of media and styles, and the invention of an idiosyncratic vocabulary, while total freedom remained their one and only rule.

Published on the occasion of the eponymous exhibition at Malmö Konsthall in 2019. More information on the exhibition can be found here.

The tenth issue of the biannual journal-collection that brings together academic writings, interviews with artists, critical essays and artists’ interventions in the form of inserts.

With & about Sara de Chiara, Rafael Corcostegui, Moyra Davey, Pierre Dulieu, Guillaume Dustan, Jana Euler, Sylvie Fanchon, Jim Fletcher, Alexander García Düttmann, Jeanne Graff, Gary Haller, Alex Hay, Martin Laborde, Daniel Lentz, Mina Loy, Liz Magor, Nick Mauss, Nicolas Moufarrege, Baptiste Pinteaux, Richard Rezac, Clément Roussier, Edith Schloss, Albert Serra, Pierre Thévenin, Belén Uriel, Charles Veyron, Robin Waart, Emily Wardill, Román Yñán.

Edited by Alice Dusapin, Martin Laborde, Baptiste Pinteaux, Alice Pialoux. Designed by Marc Touitou & Robert Milne.

A masterpiece of surrealist fiction, steeped in controversy upon its first publication in 1984, Blood and Guts in High School is the book that established Kathy Acker as the preeminent voice of post-punk feminism. With 2017 marking the 70th anniversary of her birth, as well as the 10th year since her death this transgressive work of philosophical, political, and sexual insight—with a new introduction by Chris Kraus—continues to become more relevant than ever before.

In the Mexican city of Merida, ten-year-old Janey lives with Johnny—her “boyfriend, brother, sister, money, amusement, and father”—until he leaves her for another woman. Bereft, Janey travels to New York City, plunging into an underworld of gangs and prostitution. After escaping imprisonment, she flees to Tangiers where she meets Jean Genet, and they begin a torrid affair that will lead Janey to her demise. Fantastical, sensual, and fearlessly radical, this hallucinatory collage is both a comic and tragic portrait of erotic awakening.

German artist and 2017 Turner Prize nominee Andrea Büttner examines depictions of beggars in visual culture in an artist’s book about poverty, art history, theology, and the politics of social benefits. Büttner, whose work addresses notions of shame, vulnerability, and dignity, presents a recent series of woodcuts, as well research conducted at the Warburg Institute in London, including sixteenth-century vignettes from the “Liber Vagatorum” and a visual essay on the iconography of shepherds and kings in nativity scenes.

With contributions by Andrea Büttner, Anne Carson, Christopher P. Heuer and Linda Nochlin.

Card produced on the occasion of the publication and book launch for Christopher Williams publication Inklusive: Franz Xaver Kroetz 1971.

Ian Kiaer’s monograph is based on a project that the artist began several years ago and whose configuration changes with the circumstances. Drawing on the notion of marginal endnotes in books, it references the utopian concepts of the Austrian American architect Frederick Kiesler (1890–1965).

In the late 1940s, Kiesler—an atypical figure whose writings were a significant influence on postwar art, architecture and design—came up with the (unrealised) Tooth House, a residence modelled on the human tooth and integrated into its environment.

Published as part of the the eponymous exhibition at Musée d’Art Moderne de la Ville de Paris in 2017.