ZIP: 01–01–14…12–31–14 is an annual. It records, in photographs, one year of a work Yuji Agematsu has been making since the mid 1990s. To accomplish this work, Agematsu takes daily walks and drops what he finds into the cellophane wrapper from a cigarette pack. The book is accompanied by a facsimile of the notes Agematsu keeps to map when and where these objects were encountered. Produced in conjunction with exhibitions at Yale Union, Portland; Artspeak, Vancouver & Real Fine Arts, New York.

Photographed by Aaron Flint Jamison and Scott Ponik. Designed and edited by Julie Peeters and Scott Ponik with Robert Snowden.

This book documents Amelie von Wulffen’s exhibitions at Reena Spaulings Fine Art, New York; Gió Marconi, Milan; KW Institute for Contemporary Art, Berlin; Établissement d’en face, Brussels; Galerie Meyer Kainer, Wien between 2018 and 2022. With texts from Helmut Draxler, Valérie Knoll & Tonio Kröner.

(Autumn / Winter) Including the work of Ladislas Klima, Martin Munkasci, Marc Camille Chaimowicz, Carlo Emilio Gadda, Carlo Scarpa, Roberto Bazlen, Frantisek Drtikol, Joseph Roth, Herbert List, Alexander Lernet-Holenia, Pierre Klossowski, Robert Walser, Josef Südek and Robert Musil.

*Please note this publication is secondhand and has some traces of previous ownership.

With texts from Ruth Buchanan, J.C. Sturm, Anne Boyer. The first instalment of BEACON, a pamphlet series in ten issues’ focusing on how the commitment of artists’ to wider social movements informs contemporary artistic practice. The series will feature texts by artists whose practices engage with language and visual arts.

Studies for chalk drawings at TENT, Rotterdam, produced on the occasion of the solo exhibition Open & sneller, 27 May–12 June 2022.

This publication assembles a selection of texts produced between the years 2005 and 2020, starting with The Non- Productive Attitude (2005), his prominent reflections on the anti-productive attitude in the Cologne art scene of the time. The experience of having to write the essay overnight within a few hours, and without any time for revision, triggered his interest in exploring forms of unintentional writing, and consequently the replacement of the intentional author by an unconscious writer / producer. This mode of automatic writing has manifested itself until today, and has become the core of Strau’s artistic practice.