A two-volume book edited by Cady Noland and Rhea Anastas, THE CLIP-ON METHOD contains writing by Cady Noland, sociological essays selected by the artist, and a considerable amount of exhibition photography from the 1980s to the present. Designed by Cady Noland. Typesetting, layout, and print production by Will Holder.

F.R.DAVID was concerned with the organisation of reading and writing in contemporary art practice. Following and open call, this is – the very last issue – a collectively-compiled “Erratum”, or addendum [if you will] to the twenty-three issues from 2007 until now.

Edited with Paul Abbott, After 8, Alma Sarif, Phil Baber, Daniel Blumberg, Thomas Boutoux, Kristien Van den Brande, Chloe Chignell, Martina Copley, Anthony Elms, Chris Evans, Carolina Festa, Kasper Feyrer, Richard Finlay Fletcher, Ben Green, Mariëtte Groot, Krist Gruijthuijsen, Léa Guillon, Sarah Handley, Gloria Hasnay, Loes Jacobs, Michel Khleifi, Willis Kingery, gerlach en koop, James Goggin, Keira Greene, Léa Guillon, Jacob Lindgren, Kobe Matthijs, Martino Morandi, Zen Nguyen, Alice Notley, Robert M. Ochshorn, Oscar the dog, Willem Oorebeek, David Reinfurt, Scott Rogers, Andrés de Santiago Areizaga, Rosa Sarholz, Clara Schulmann, Andrea di Serego Alighieri, Sabrina Tarasoff, Kristy Trinier, Seymour Wright and Unknown.

This publication was developed over a year and catalogues the photographs Fiona Connor takes as tools for making sculptures while also considering how she prints and uses these images in her studio. Over five thousand images have been edited and collated into stapled book blocks arranged chronologically. The photographs record sites, surfaces, and objects to enable a sculptural language that utilises processes of mimicry and reproduction. When seen together, they operate like a stream of consciousness recorded through the push of a fingertip on a phone screen.

Edited by Marie Angeletti with Gianmaria Andreetta and Camilla Wills.

Paradis is a continuation of the eponymous exhibition conceived by artist Marie Angeletti in Marseilles in 2021. The exhibition brought together 56 artists of different origins and generations. More than just a transcription of this event, this catalogue brings together some one hundred contributions, combining critical texts, poetry, artists’ writings and new translations, alongside an equally large number of visual contributions and ad hoc works, most of them previously unpublished.

VALIE EXPORT Archive Matters provides a first insight into the holdings of the artist’s premature legacy. It seeks to contextualize archival material with the works of art. Moreover, it documents the archive’s presentations in the exhibitions in Linz, Berlin and Montréal between 2017 and 2021, showing not only the rich archival material but also experimental forms of display in relation to the format of the archive. The extensive publication containing numerous illustrations and texts is being published as volume 2 within the VALIE EXPORT Center Linz publication series.

In Perpetual Slavery, Ciarán Finlayson investigates the relationship of art to freedom in the work of Cameron Rowland and Ralph Lemon, who both utilize imagery of labor haunted and structured by the historical experience of slavery.

Finlayson suggests that these two artists’ work overcomes the dichotomy between the recording of history and its interpretation by making both the object of artistic experience, thereby providing a space to grasp the continuing effects of slavery.