Mathias Poledna’s film Indifference (2018) further advances the artist’s ongoing inquiry into modernity’s visual imaginary. The film unfolds as a series of brief, hallucinatory scenes set in the waning days of the Austro-Hungarian monarchy at the cusp of World War I. It details in elegant restraint the seemingly mundane routine of a single protagonist played by French actor Alain-Fabien Delon. His character—an Austrian officer/aristocrat—is drawn from types common in German-speaking fin-de-siècle literature, as well as from historical dramas and period films produced in the Cold War era. While evocative of the larger backdrop of traumatic modernization and conflict in early 20th century European history, Poledna’s film forgoes a broader narrative focusing instead on the transient and disjointed.

Produced on the occasion of the exhibition Ger Langeweg at the Stedelijk Museum, Amsterdam, 11 January–3 March, 1974 and the Gemeentemuseum, Arnhem, 30 March–5 May, 1974.

SM Cat. No 553.

Designed by Wim Crouwel.

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

Joachim Bandau’s early sculptural works from the years 1967–1974 remain as strange and singular today as when he first made them. At once technoid and bodily, minimal and monstrous, often with couplings or hoses that resemble weirdly organic orifices and tentacles, these works address questions of agency, control, technology, and history in a way that is increasingly relevant to the present.

With texts by Joachim Bandau, Alexandra Bircken, Elena Filipovic, Martin Herbert, Renate Wagner. Designed by Petra Hollenbach.

Produced on the occasion of If UR Reading This It’s 2 Late, Vol. 3, the first comprehensive solo exhibition by the American artist Tony Cokes in Belgium. In his work, Cokes brings together image, text and sound. This results in thought-provoking video art centered around questions of truth, social justice, and capitalism.

If UR Reading This It’s 2 Late, Vol. 3 shows Cokes’ works on pop and electronic music. The exhibition is named after a Drake mixtape, which underscores the ‘mixing’ in Cokes’ art. The artist does so by quoting various authors: from Aretha Franklin to Morrissey, from Malcolm X to Louis Althusser.

Available as a downloadable PDF here.

A poem first published in 1975 by Bern Porter, presented in alphabetical order, with the same number of acts for each letter. This new edition presents an additional introduction, transcribed from a reading given by Bern Porter on May 19, 1985, in Madison, Maine.

Bern Porter (1911–2004) was an American artist, writer, publisher, performer, and physicist. He was a representative of the Mail Art and Found Poetry avant-garde art movements.

Edited by Alice Dusapin and designed by Robert Milne.

The Happy End of Franz Kafka’s ‘Amerika’ is Martin Kippenberger’s (1953–1997) largest and most complex work. The artist spent several years preparing, researching and producing it. The installation, set out on a stylised football pitch, is made up of 50 table and chair ensembles. Alongside classic design icons and found pieces, it also includes furniture especially produced by Kippenberger as well as pieces by numerous befriended artists, including Cosima von Bonin, Tony Oursler, Ulrich Strothjohann, and Jason Rhoades.

This publication examines the work from various perspectives. It is the first time, thanks to extensive research, that the ‘biographies’ of the individual objects and the contexts of their creation and collection have been documented in such a detailed way, offering a new way to approach Martin Kippenberger’s life and oeuvre.

Produced on the occasion of the exhibition at Museum Folkwang, Essen (2021).