prefaces to appendage appeared in conjunction with the exhibition appendage by Iris Touliatou. It gathers a series of prefaces to the exhibition, written by Arnisa Zeqo, Lisa Holzer, Tom Engels, and Quinn Latimer, and preceded by scattered imagery of the Grazer Kunstverein’s infrastructure before the arrival of appendage. Convened by Iris Touliatou, these voices conjure premonitions, blessings, openings, or, simply put, moments of an attached before. Designed by Julie Peeters.

For Langstme, Kunsthuis SYB’s 2021 triennale, Ash Kilmartin revisited her research on klokkenstoelen, notes and memories from her residency in 2019. The resulting thoughts turn around the traditional production of the bells, their historical functions and folklore in the village life around Beetsterzwaag, Friesland. Dutch translation by Caspar Stalenhoef. Designed by Linus Bonduelle/Studio Lieneman. The book is accompanied by a sound piece which can be listened to here.

A hand-printed book of texts and chine-collé/drypoint etchings, written, typeset and printed June 2022 at Frans Masereel Centrum, Kasterlee. What to do with a hunger for life? How to share an appetite for the small beauties that appear after loss? How to keep some for later? Produced in response to the form of the cookbook, Dorothy Iannone’s 1969/2019 A Cookbook in particular. Ash Kilmartin is a visual artist and radiomaker from Aotearoa New Zealand who lives in Rotterdam. She works in sculpture, performance, writing, audio and print, among other things. From May 2020 to March 2022, she opened the doors at a shop called LIFE. Edition of 25.

Russian writer and philosopher Oxana Timofeeva was born and grew up in various parts of the USSR. The book explores the difficulty of reducing one’s sense of homeland to one’s country alone, the philosophical interconnectedness of movement and rootedness, our plant and animal souls, and how we need to reimagine our desired, fictional if need be, homelands. The book interweaves vignettes from Timofeeva’s childhood across different parts of the USSR with a philosophical discussion of ideas on homeland in the thought of Brecht, Deleuze and Guattari, and other main figures of literature and philosophy. Design template by Julie Peeters. Cover illustration by Jumana Emil Abboud.

Few artists have contributed seminal works to as many genres as Bruce Conner (1933–2008). An assemblage artist famed for his use of nylon stockings, he also pioneered the use of found footage and the high-speed film editing now familiar to us from MTV, and was one of the earliest filmmakers to use pop and soul music on his soundtracks. In the 1960s, Conner collaborated with Toni Basil (of “Mickey” fame) on his dance film Breakaway, and in the 1970s with Devo, David Byrne and Brian Eno on music videos. This publication examines the formal parallels between Conner’s works as an artist and filmmaker, and looks at drawings, oil and acrylic paintings, lithographs, prints, photograms and photographs alongside three of Conner’s best-known films: Breakaway (1966), Crossroads (1976), and Marilyn Times Five (1968–1973).

Produced on the occasion of the exhibition at Vancouver Art Gallery, Vancouver, 5 February–3 April, 1988; 49th Parallel Center for Contemporary Canadian Art, New York, 10 May–15 June, 1988; Mackenzie Art Gallery, Regina, Saskatchewan, 28 June–10 August, 1988; The Power Plant, Toronto, Ontario, 16 September–6 November, 1988; Mendel Art Gallery, Saskatoon, Saskatchewan, 6 January–26 February, 1989; and Winnipeg Art Gallery, Winnipeg, Manitoba, 12 March–21 May, 1989. With texts by Christos Dikeakos and Jeff Wall.

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