To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia since the 1970s including: Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney; and Duoda—Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe’s research proposes a trans-generational approach to feminist politics.

This publication accompanies two exhibitions of recent sculptural work by the artist Magali Reus: Hot Cottons (2017–18) at Bergen Kunsthall and As mist, description, (2018) at the South London Gallery. Featuring an essay by writer and curator Laura Mclean-Ferris and a poetic response by writer and poet Quinn Latimer as well as a fully illustrated overview of Reus’s work, this catalogue provides an in-depth exploration of the artist’s recent sculptural practice.

Producing a sculptural language that is both familiar yet unlocatable Reus draws heavily on the past and present landscape of industry and fabrication, creating forms using a plethora of materials that include: mesh, jesmonite, cotton, steel, rubber, leather. Interested in collaborative processes of making, from virtual design to handmade fabrication, Reus combines sculptural games with material explorations.

Designed by A Practice for Everyday Life.

Produced on the occasion of Hanne Darboven: Enlightenment the first major retrospective after the artist’s death brings together key works from all phases of her prolific work. Collaboratively organised by and simultaneously presented at the Bundeskunsthalle in Bonn and Haus der Kunst in Munich.

This major publication brings together key works from all phases of her prolific career spanning over fifty years. It highlights the outstanding and wide-ranging output of this key conceptual artist in its entire temporal and stylistic breadth, featuring works in which the artist focuses on political events, German history and her personal context and shows the extensive work series exploring themes from cultural history, music, literature, and (natural) science.

A video on the exhibition can be seen here.

Produced on the occasion of the exhibition Heimo Zobernig, Mudam Luxembourg, 21 April–7 September & kestnergesellschaft Hannover, 21 November, 2014–2 February, 2015.

Heimo Zobernig (*1958 in Mauthen, Austria) occupies a central position in contemporary art with his diverse, genre- spanning work. The artist, who lives in Vienna, works with painting, sculpture, architecture, graphic and furniture design, video, performance and music. He often uses everyday materials such as cardboard, styrofoam, pressboard, linen and fluorescent lights to create his objects and spatial interventions. The unpretentious material, coupled with a simple, geometric use of forms, contributes to the soberly pragmatic impression.

With texts from Heinrich Dietz, Helmut Draxler, Veit Görner, Enrico Lunghi and Clément Minighetti.

Published to coincide with Hopf’s exhibitions A Line May Lie, at Kunsthalle Lingen and Testing Time at Studio Voltaire, 2013. Includes essays by Meike Behm and Joe Scotland.

Hopf’s work focuses on how our social environments shape us, influence us, and by extension thereby exclude us from ourselves. Hopf uses a wide variety of techniques such as sculpture, installation, film and performance, often engaging subjects and materials that can be found in the immediate environment.

Designed by HIT.

Wols (1913–1951) was celebrated posthumously as one of the pioneering artists of the Art Informel movement. His distinctive early photographic work of the 1930s is however very little known. In an unusual travel across time and space his work is discussed in connection to that of contemporary American artist Eileen Quinlan (b. 1972). This book, a companion to the eponymous exhibition Always Starts with an Encounter, Wols-Eileen Quinlan, curated by Helena Papadopoulos and organized by Radio Athènes at the Museum of Cycladic Art, Athens in 2016, further explores the relationship between the work of the two artists through an indexical structure, various textual forms and inflections, different registers of images and close-up textures that act like another text. Spectral and suggestive, but also precise and factual it reflects on a circular idea of time as it wanders in the abstruse physicality of the photographic.

Texts by Quinn Latimer, Laura Preston, Helena Papadopoulos, Oliver Berggruen. Designed by O-R-G Inc., David Reinfurt.