The early work of Mladen Stilinović was marked by his involvment in poetry and experimental film. His interest soon evolved in the relationship between visual symbols and words, leading to the creation of a series of collages, hundreds of artist’s books, paintings, installations, and videos. Stilinovic’s artwork is characterized by the use of everyday materials, simplicity, social criticism and questioning the role of art.

With an introductory text by by Branka Stipančić. You can see Stilinović interviewed about his artists books here.

In Francis McKee’s first novel, observations of séances, scientific advances, group education outings, Kurdish protests for the ‘disappeared’, become mixed with his own Tarot influenced visions: a haunting spirit appears; the relation between political resistance and Spiritualism is cast as an insurrectionary force and a millenarian energy, celebrating the ecstatic moment. Histories of isolated early Christians and twentieth century mystics affect the psyche, all of this documented through journal entries that move from Scottish islands to Puerto Rico. Influenced by forms of 1960s new journalism, McKee pushes language to match the raw material of the stories, which become more erratic, signalling the looming fate of the text and its author.

Francis McKee is an Irish writer and curator working in Glasgow. He is Director since 2006 of the CCA, Glasgow, and a lecturer and research fellow at Glasgow School of Art.

You can hear the author discuss the book here.

Produced on the occasion of the exhibition Franz Erhard Walther: Arbeiten 1955–1969, at Kunsthalle Tübingen from 11 May–9 July, 1972.

Franz Erhard Walther is a key figure in the departure from the image since the European postwar period. Beyond the classical understanding of sculpture and painting, Walther formulated a completely new concept of work that included the viewer as an actor. Early in his work, fabric—until then an unusual artistic material—became a source of innovation for Walther, from which the “activation objects” emerged. In the wall formations of the 1980s, he achieved an incomparable interweaving of painting, sculpture, and architecture that continues to this day.

Assigned its own ISBN, which also serves as its textual and/or graphic content, BOOK/MARK is a publication in the form of a bookmark. Produced on the occasion of the Moveable Types book fair at Witte de With, Rotterdam in February, 2020 by Mitchel Cumming and Maria Smit.

This publication tells the story of the British Constructivist artist Marlow Moss (1898–1958) and her work. A series of lists with ‘facts’ is compiled from writings about and by Moss. These lists contain contradictions and gaps. In part because some characters in the novels written by Netty Nijhoff, Moss’s partner, are based on Moss, and so this knowledge has been sometimes treated as non-fiction because of the lack of information on Moss. The result is that fiction became part of reality. The publication is an alternative biography that indirectly shows how history is constructed.

Produced in 2010 on the occasion of three large solo exhibitions organised at the Centre international d’art et du paysage de Vassivière (France); the Kunsthalle Bern (Switzerland) and the Parc Saint Léger Centre d’art contemporain (France), I Can’t See stands as the first comprehensive monograph on the work developed by American artist Oscar Tuazon. It reads as a full-page visual essay with a phantom narrative spreading over 250 pages that was composed by the artist together with graphic designer Pierre-François Letué. With texts from Ariana Reines, Matthew Stadler, Cedar Sigo, Karl Holmqvist, Thomas Boutoux, Carissa Rodriguez, Eileen Myles, David Lewis, Oscar Tuazon, Sandra, Chiara Parisi, Philippe Pirotte