Since his first exhibitions in the mid 1970’s, Austrian conceptual artist Ernst Caramelle has created a rich and diverse oeuvre using a variety of media and materials ranging from drawings and video works to spatial installations and paintings. Designed by the artist himself, this beautifully produced book documents all the printed matter produced by Caramelle: publications, postcards, posters and limited editions.

Produced on the occasion of Henrik Olesen’s 2001 exhibition at Kunstverein Braunschweig. With texts by Sabeth Buchmann and Karola Grässlin.

The project examined the consequences of legal restrictions on identity and lifestyle. It dealt with the criminalization of homosexuality and documented cultural peculiarities, the current legal situation and pictorial representations from different countries of the world.

Authors: Ronja Andersen, Danielle Aubert, Joel Colover, Valentina Desideri, Jason Dodge, Olya Domoradova, Paul Elliman, Rosie Eveleigh, Eloise Harris, Sarah Käsmayr, Maxine Kopsa, Raimundas Malasauskas, Robert Milne, Josse Pyl, Nerijus Rimkus, Charlotte Taillet, Maud Vervenne, Caroline Wolewinski.

As part of Speelplaats, a parallel program of Werkplaats Typografie, participants challenged what was being offered in the school’s curriculum by introducing improvements or suggesting alternatives. Reader, aantekeningen exemplaar brings together these contributions made to the Speelplaats program alongside other like-minded initiatives by participants, guests and tutors in the shape of examples as well as reference texts.

Edited and designed by Ronja Andersen and Nerijus Rimkus.

Being at once a school and at the same time not a school, a workspace, the WT tends to want to comment on its own distinctive form of academic pursuit (by way of, amongst other outlets, these School Journals). And during this sometimes faltering, sometimes successful quest, I’ve often thought about Jacques Rancière’s Ignorant Schoolmaster. Five Lessons in Intellectual Emancipation, not least because it outlines an “intellectual adventure” whereby any hierarchy amongst the students and between them and their tutor dissolves.—Maxine Kopsa, ‘Editorial Considerations’ (excerpt)

Including the work of Guy de Cointet, Ian Hamilton Finlay, Scott Ponik, David Lieske, Stephen Willats, Na Kim, Morgan Fisher, Karl Nawrot, Boy Vereecken, Cecilia Costa, Joris Kritis, Julie Peeters.

Produced on the occasion of Isa Genzken’s exhibition, Sie sind mein Glück from 11 June–27 August, 2000 at Kunstverein Braunschweig.

With texts by Diedrich Diederichsen und Rita Kersting and a foreword by Karola Grässlin. Designed by Yvonne Quirmbach.

‘In De vulgare eloquentia, Dante developed a poetics of the vernacular – the collectively accessible speech of the household and the street, distributed unilaterally rather than intentionally acquired via a disciplined pedagogy of grammar, and transformed in open bodily exchange, irrespective of social position, gender or rank. “The vernacular,” Dante says, “[is] the language which children gather from those around them when they first begin to articulate words; or more briefly, that which we learn without any rules at all by imitating our nurses.” A vernacular is not structured according to a valuing hierarchy or an administration of history; it is improvised in tandem with the rhythmic needs and movements of a present-tense yet tradition-informed body among other bodies, each specific.

Lisa Roberston’s reflection of political subject formation, through poetry and vernacular forms, acts as a critical anchor for the ideas and experiments published in this new series, Dialecty.

Dialecty, conceived by Maria Fusco with The Common Guild, considers the uses of vernacular forms of speech and writing, exploring how dialect words, grammar and syntax challenge and improve traditional orthodoxies of critical writing.