Produced on the occasion of Wols: Schilderijen, gouaches, aquarellen, tekeningen at Stedelijk Van Abbemuseum, Eindhoven, 12 March–24 April 1966; and Stedelijk Museum Amsterdam, 29 April–12 June, 1966. Cat nr. 395. Wols was the pseudonym of Alfred Otto Wolfgang Schulze (27 May 1913, Berlin–1 September 1951, Paris), a German painter and photographer predominantly active in France. Though broadly unrecognized in his lifetime, he is considered a pioneer of lyrical abstraction, one of the most influential artists of the Tachisme movement. Designed by Wim Crouwel & Anneke Huig (Total Design).

Hans Bellmer (13 March 1902–24 February, 1975) was a German artist, best known for the life-sized pubescent female dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer. Designed by Wim Crouwel and Jolijn van de Wouw.

Produced on the occasion of Inhuman, 29 March–14 June, 2015. Curated by Susanne Pfeffer. Artists include: Julieta Aranda, Dora Budor, Andrea Crespo, Nicolas Deshayes, Aleksandra Domanović, David Douard, Jana Euler, Cécile B. Evans, Melanie Gilligan, Oliver Laric, Johannes Paul Raether, Pamela Rosenkranz, Stewart Uoo, Lu Yang, Anicka Yi.

The artists participating in the exhibition “Inhuman” offer visions of the human being as a socially trained yet resistant body, transcending biologically or socially determined gender classifications, as a digitally immortal entity, or as a constantly evolving self. They visualize the constructs that define what is human and shift existing perspectives on human subjectivity and the body, thereby questioning the primacy of the human being at a fundamental level.

Designed by ZAK Group.

Edited by Helen Hughes, with editorial assistance by Amelia Winata, designed by Robert Milne & Fabian Harb.

Five of the seven essays in this issue are adapted from papers given as part of the TarraWarra Biennial 2016: Endless Circulation lecture series. This series was formulated as an extension of the Biennial, co-curated by Victoria Lynn, Helen Hughes and Discipline, and as a site for delving into its research focuses on the physical, economic, visual, vir­tual and discursive channels through which artworks circu­late today, and the iterative structures of journals and recursive exhibitions (like biennials, triennials and documenta).

Documenting Cadere, 1972–1978 is curated by Lynda Morris and draws on her personal archive and the archives of the Herbert Collection, Ghent, Massimo Minini, Brescia and Barry Barker, London.

André Cadere belonged to a generation of European artists who contested the art object and institutional framework of the art world in which they operated. Best known for carrying his Barres de Bois Rond—Round Bars of Wood—wherever he went. His appearances at the most important private views of contemporary art across Europe became legendary. With his round bar of wood in hand he would intervene in a provocative way on other artists’ exhibitions in galleries and museums.

The publication contains new translations of lectures given by Cadere; an interview with the artist conducted by Morris in 1976; plus new essays by Morris, and two other figures who worked closely with Cadere, British curator Barry Barker and Italian gallerist Massimo Minini. You can see Lynda Morris talking about Cadere here.

Produced on the occasion of Speculations on Anonymous Materials, September 29, 2013 – January 26, 2014. Curated by Susanne Pfeffer. Artists include: Michele Abeles, Ed Atkins, Trisha Baga & Jessie Stead, Alisa Baremboym, Kerstin Brätsch &, Debo Eilers, Antoine Catala, Simon Denny, Aleksandra Domanović, GCC, Yngve Holen, Sachin Kaeley, Daniel Keller, Josh Kline, Oliver Laric, Tobias Madison, Katja Novitskova, Ken Okiishi, Jon Rafman, James Richards, Pamela Rosenkranz, Avery Singer, Timur Si Quin, Ryan Trecartin. Designed by Zak Group, London.