This new volume in the Occasional Table series of critical anthologies focusses on the act of distribution as a subject for serious creative consideration and one of great social and economic importance. Contributors from a variety of backgrounds paint a picture that embraces the actions of the individual along-side the workings of global markets. From the attention-seeking impulse of the poseur to the democratisation of art and knowledge through books, digital networks, pop music, and self-organised libraries, and to the question of what can be known and by whom, the urge to disseminate is explored here as an elemental phenomenon of our time.

This book brings together the first complete survey of projects by the young Czech artist Katerina Sedá (*1977). The artist’s book is in the form of a box containing 10 folders which document each project (diagrams, graphs, drawings, texts, photographs, questionnaires) that Sedá carried out from 1999–2007.

Katerina Sedá bases her work on the observation of “invisible” contexts and social relationships between individuals in her most immediate surroundings—within her family and her birthplace, Ponetovice, a village in the Moravian countryside. The observations she makes (in the form of drawings, texts, and diagrams) then prompt a series of assignments, tasks, and games which she carries out in those surroundings. For example, her “society game” called “Nic tam není” [There’s Nothing There] (2003), involved the participation of all the inhabitants of Ponetovice. Based on observations she made, she created a universal “Regime for a Day”—an ordinary Saturday in a Moravian village. After cajoling her fellow villagers for some time, she was able, one Saturday, to get them to synchronise all their activities according to the regime she devised for the day, doing all the same things at the same times throughout the day. Katerina Sedá also collaborated on several projects with her grandmother. In “It Doesn’t Matter” (2005), her grandmother created several hundred drawings from memory, documenting the objects she had sold at the household goods shop where she’d worked her whole life. Sedá’s latest project was exhibited at Documenta XII.

Fourth volume of the series “Tranzit,” edited by Vít Havránek and focusing on Central and Eastern European artists.

Exhibition postcard from Jack Goldstein’s exhibition Burning Window at Corps de Garde, Groningen, Netherlands 12 August–9 September, 1978

Published on the occasion of Tetsumi Kudo’s exhibition at the Stedelijk Museum, Amsterdam, 25 February–9 April, 1972. Designed by Wim Crouwel.

This publication is produced on the occasion of the retrospective exhibition of Japanese artist Tetsumi Kudo of the same title at The National Museum of Art, Osaka from November 2013 to January 2014, then at The National Museum of Modern Art, Tokyo from February to March 2014, and finally at Aomori Museum of Art from April to June 2014. 'Your Portrait' was one of Tetsumi Kudo's most frequently used titles. While the word 'you' indicates the audience constrained by a variety of established values and conventions, it also refers to Kudo himself as the work's first viewer. It is intended as a portrait of the human race as the unavoidable victim of radioactive contamination. Kudo's works might seem to be weird or repulsive, but they display his vision of a paradoxical paradise in which, in order to survive, human beings would be forced to live in harmony with nature and technology. Includes Tetsumi Kudo's writings, his biography and exhibition history, bibliography, and a catalogue of his works from 1955 to 1988. (Text from Asia Art Archive)

This bibliography catalogues and illustrates, with a wide selection of images, Allan Kaprow’s entire body of published work: from his first artist’s book in 1962, to his last anthological projects in the 1990s. This lesser-known side of his oeuvre unfolds through 32 books, booklets, and pamphlets produced over a period of 40 years. Kaprow’s work moved along two parallel tracks: Happenings—of which he was an unchallenged pioneer, starting in the 1950s—and “Activity Booklets,” which functioned as a tool to help people understand and experience these performances.

The layout of his books, the originality of their structure, the literary stature of their texts, and their aesthetic quality as objects shifted his exploration of print into a higher realm, where the book became a fully-fledged work of art.