Produced on the occasion of Rosemarie Trockel: Bilder, Skulpturen und Zeichnungen at the Rheinisches Landesmuseum, Bonn, 5 September–6 October, 1985.

The “economization of art” began to take shape in the wake of the crisis of capital in 2009. The shifts that occurred in the art field during this time were accompanied by explicit critique and academic analysis that aimed to make the genesis of these transformations comprehensible. In this book, first delivered as a lecture at Kunsthalle Bern in April 2016, Diedrich Diederichsen follows Marx’s labor theory of value and counters the symbolic economies dominating the art field, as well as economic exceptionalism or calculation, with systems of recording and reading out. Expanded to include the sphere of individual aesthetic experience, these systems are not formulated as solipsism, or in terms of purposefulness, but as a means to compare relations within the productivity of open and incalculable connectivity, relations that allow aesthetic experience to be read out as the liquefied labor and lifetime of concrete others. Designed by HIT.

Produced on the occasion of Sonsbeek, 27 May–25 September 1966, Arnhem. Curated by Wim Beeren. Featuring; Hans Arp, Max Bill, Anthony Caro, Lucio Fontana, Alberto Giacometti, Barbara Hepworth, Norbert Kricke, Isamu Noguchi, Eduardo Paolozzi amongst others. Designed by Wim Crouwel.

Ian Wilson has been exploring the aesthetic potential of spoken language since the late 1960s. His ongoing body of work—beginning with “oral communication” and eventually including his signature Discussions—began in 1968 with the spoken word “time”.

Over the course of the 1970s, his discussions took on a more formal character, and his interests shifted towards ‘The Known and Unknown’, based on Plato’s ‘The Parmenides’. In contrast to a ‘performance’, during a discussion the audience can actively take part in realising the concept of ‘oral communication’. Wilson does not want the discussion to be recorded either on film or audio. Wilson summarises the core of these discussions in a book series entitled ‘section’.

Edited by Helen Hughes and David Homewood (Discipline Nº 5); Carla Macchiavello and Camila Marambio (Más allá del fin Nº 3); and designed by Robert Milne.

Discipline, Más allá del fin (translating to ‘discipline beyond the end’)—represents an effort to map a South–South relationship between Chile and Australia, and even more specifically, between its southernmost island tips: Tierra del Fuego and Tasmania. For centuries, the Northern imagination conceived of these places as the very personification of distance itself, whereas the editors of Más allá del fin refer to Tierra del Fuego as ‘the centre of the known universe’. In addition to publishing a range of essays on modern and contemporary art, this joint issue recentres and forges new connections between Southern perspectives, generating a dynamic and relational art history of the contemporary.

You can see a full list of contents here.

A photograph depicting Lawrence Weiner leaning casually against the wall next to his work was uploaded to a website to point out in which letter the work was typeset. The website ascribes Weiner to the alphabet’s sixth letter (that letter that starts the word we use when we describe moving through the air with wings). Edition of 50.