Raoul Hausmann’s photographic work has long been underrated. This key artist of the twentieth century is remembered primarily for the central role he played in Berlin Dada with his assemblages, photomontages, and optophonetic poems, yet the vicissitudes of history caused his photography, an essential facet of his oeuvre, to be cast almost entirely into the shade. From 1927 on, Hausmann became an avid and restless photographer in Germany, in particular during his stays at the North Sea and Baltic coasts. While in exile in Ibiza after the Nazis came to power, he took an interest in the local populace and vernacular architecture, before emigrating again in 1936. During this intense decade, he reflected extensively on photography, developing a highly individual practice in the medium, simultaneously documentary and lyrical, inextricably linked to his way of thinking and living.

A-FL’s 78 kilograms (2020) is the first installment in an annual edition of postcards, titled My Weight in Gold. The phrase is a pun on the metaphoric idiom ‘worth its weight in gold’, which has its origin in the Roman Empire and first appeared in English by the early 1300s.

For each edition, A-FL weighs himself, after which seeks out four objects of the same weight. Images of these objects, in this first installment ranging from a naval ammunition rig to ten cans of 3Coty Cat Food, are printed as postcards with the corresponding weight hot-foiled in gold onto them.

The four cards are collected in an envelope, with 312 kilograms rubber stamped in gold on its recto side; making up the total weight of the objects on the cards when added together.

For the first volume in The Leporello Series, Heimo Zobernig makes optimal use of the accordion format, allowing rhythmic wording and typography to seamlessly transcend from individual words and phrases to shapes and structure.

Inhabiting a space between book and paper sculpture, the leporellos are printed on delicate Mohawk Superfine Eggshell paper. Each volume in the series is limited to 250 numbered copies and come in a bespoke rigid box, with the title hot foiled both on its front and on its spine, allowing it to sit comfortably in a bookshelf when not on display.

Heimo Zobernig is an Austrian artist widely acclaimed for his works in a variety of media, ranging from painting and sculpture to video, performance and site specific installation and design.

Produced on the occasion of the exhibition Calligraphies, Permutations, Cut Ups at Galerie De France, Paris, 16 December, 1986–17 January, 1987

Brion Gysin was a painter, writer, sound poet, performance artist and inventor of experimental devices born in Taplow, Buckinghamshire.

He is best known for his use of the cut-up technique, alongside his close friend, the novelist William S. Burroughs. With the engineer Ian Sommerville he also invented the Dreamachine, a flicker device designed as an art object to be viewed with the eyes closed. It was in painting and drawing, however, that Gysin devoted his greatest efforts, creating calligraphic works inspired by cursive Japanese “grass” script and Arabic script.

*Please note this publication is secondhand and has some traces of previous ownership, including library stamps and stickers.

Over the last forty years, Moyra Davey’s work in photography, film, and text presents a wide-ranging model of engagement with the world: reflections on producing and consuming, on writing and reading, and on novelty and obsolescence. Based on Davey’s eponymous 2019 film of the same title, i confess triangulates the lives and work of three writers: the American novelist and essayist James Baldwin, the Québécois revolutionary Pierre Vallières, and Ottawa-based political philosopher Dalie Giroux. With Baldwin’s 1962 novel Another Country as its point of departure, the narrative arrives at the work of each figure in succession, threading themes of race and poverty, language, and nationalism into Davey’s personal chronicle of the 1960s and 1970s;a turbulent period of Québécois history marked by separatism and violence, unresolved to this day.

With text by Moyra Davey, Dalie Giroux, Andrea Kunard. Designed by Santiago da Silva.

Produced on the occasion of ’Pataphysics and Transactions Between Barry Flanagan And John Latham at Flat Time House, London, 2 April–17 May. Curated by Jo Melvin, Palindromes looked at Barry Flanagan and John Latham’s preoccupation with ’pataphysics and provided a framework for dialogues between Barry Flanagan and John Latham. ’Pataphysics is defined by its inventor, Alfred Jarry, the Symbolist poet and writer, as ‘the science of imaginary solutions.’ It preoccupied Flanagan from the early 1960s before he enrolled on the Advanced Sculpture Course at St Martin’s School of Art in 1964, where he met John Latham who was at that time teaching in the painting department.

*Please note this publication is secondhand and has some traces of previous ownership, the cover has slight sun damage.