An artist is invited to take up residency in a gallery filled with historical paintings. They are meticulously crafted, maintained, and revered. She begins to make an audit of the paintings, outlining the depictions of violence, subjugation and physical tension on public display. Eleven arrows in a torso, someone’s hair cut as they sleep, a man nailed to a cross. Horses, decapitations, memorable lobsters. Written in sparse, urgent fragments that invite closer reading, The Touch Report, turns the reader’s gaze into the dark, to question our notions of ‘civilisation’.

From the 1970s until her death, Louisiana-born artist Tina Girouard (1946–2020) was a dedicated experimental artist, collaborator and art worker. Alongside her individual creative endeavors, she nurtured and was a part of numerous influential artist communities and organizations in New York, Louisiana and Haiti, including the Anarchitecture Group, the interdisciplinary cohort of 112 Greene Street, the restaurant Food, The Kitchen, P.S. 1 and the Festival International de la Louisiane. Her acts of upkeep, including domestic labor traditionally associated with “women’s work,” blurred the boundaries between artmaking and what she called life-making.

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

Produced on the occasion of the exhibition Ewa Partum: Retrospektive 1965–2000 at Badischer Kunstverein, Karlsruhe, 17 February–16 April, 2021.

In the 1960s and 70s, Ewa Partum was part of the artistic avant-garde in Poland. She sought a new reality in art, considered the possibilities of thought within painting to be exhausted, and championed the new art forms of the time. Starting with the language and concepts that shape our ideas about art as well as our notions of work and practice, Partum focused on semantic material as the “raw material” of art and its visualization. With actions in public space, an understanding of art that referred to active processes in time, and a self-reflexive concept of media, Ewa Partum belonged to the first generation of conceptual artists.

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

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

Jef Geys voor beginners reproduces all the seed sacks that Geys has painted every year since 1963. They are, without any explanation, depicted chronologically and in the form of black-and-white line drawings on the recto side. There is an empty frame on the verso, where the owner of the book can notionally stick a coloured reproduction of the painting in question (This copy comes without the original colour inserts).

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

Produced on the occasion of Kazuna Taguchi’s exhibition I’ll never ask you at MUMOK, Wien, 13 June–16 November, 2025.

Taguchi’s meticulously composed monochrome photographs convey body fragments, gestures, and gazes that resonate with the surrealist tradition concerning the questioning of the photographic representation of the female body. This can be moments of the phantomic or Yūgen*-like, images that capture a figure in a state between appearance and disappearance.

*According to the Japanese poet Kamo no Chōmei (1155–1216), yūgen is a feeling that is not openly expressed in words, but symbolically indicated by images.

Designed by HIT.