Produced on the occasion of Matt Browning’s exhibition All Woodcarvings Remain Slow Motion Mobiles at Kunstverein München, 27 June–30 August, 2026. Loosely bound in a hand-assembled folder, the publication brings together newly commissioned photographs, large-format prints, and other expanded exhibition documentation of Browning’s sculptures. Including an essay by Rhea Anastas, alongside a text contribution by Matt Browning. Designed by Julie Peeters.

Since 2013, Matt Browning has worked steadily in carving. All Woodcarvings Remain Slow Motion Mobiles brings together works produced during this time, all carved in Douglas fir. Each sculpture takes the form of a chain-link carving cut from a single piece of wood, through which interior voids, grids, and frames emerge without assembly.

Produced on the occasion of Annika Eriksson’s exhibition and order at Kunstverein München, 27 June–30 August, 2026. Loosely bound and hand-assembled, the folder comprises several written contributions by Annika Eriksson and Tom Engels, a series of reproductions of Eriksson’s small- and large-format collages, and a three-channel slide installation also presented in the exhibition, reconfigured for print. Designed by Julie Peeters.

For more than four decades, Annika Eriksson has developed work attentive to the unstable arrangements through which figures inhabit space alongside one another. Her films, performances, and installations observe how gestures, habits, and routines organize forms of living together: how proximity is negotiated, how behavior adjusts itself under observation, and how invisible structures shape everyday life.

Produced on the occasion of the exhibition VALIE EXPORT: Metanoia at the Dům umění města Brna (The Brno House of Arts), 14 November–9 December, 2001 and Galerie im Taxispalais, Innsbruck, 23 September, 2000–14 January, 2001.

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

Produced on the occasion of the exhibition Women on Paper at Gandy Gallery, Bratislava, 11 December, 2014–27 February, 2015. Including artists Etel Adnan, Mária Bartuszová, Matali Crasset, Florine Desmothene, Inci Eviner, Sigrid Gloerfelt, Roza EI-Hassan, Victoria Lomasko, Ilona Németh, Michèle Sylvander, Sophie Tabadadze.

Gebärden und Ausdruck (Gestures and Expression) is the first comprehensive publication on the work of German artist Kai Althoff (*1966).

Fully illustrated and conceived by the artist, the book traces the evolution of the work from the early nineties until today. The texts discuss Althoff’s repertoire of bohemian adolescents, revealing how his untranslatable dialect, hermetic cultural codes and twisted youth motifs are ultimately in service of the work’s epic dimension.

“What is happening here is more a question of the absorption, reduplication, and removal of the core of an existing societal dynamics where convictions, lifestyles, and attitudes previously radically opposed, or even mutually exclusive, have collapsed together into one.”—Anke Kempkes

Edited by Nicolaus Schafhausen. Texts by Michaela Eichwald, Anke Kempkes, Bernd Koehler, Jutta Koether. Design by Surface, Berlin/​Frankfurt am Main.

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

Initiated by Katayoon Barzegar and edited by Niloufar Nematollahi, and Jose Rosales.

In Iran, March 8, 1979, marked the beginning of a six-day nationwide protest campaign in which thousands of women marched through the streets of Tehran and other major Iranian cities such as Abadan, Tabriz, Sanandaj, and Isfahan. These six days were the first time women organized en masse against the mandatory use of the hijab in particular and the Islamic Republic in general. Equally telling is the fact that the scale and political significance of these protests only recently became known. The title of the book Monument Zero is inspired by the short documentary Iranian Women’s Liberation Movement, Year Zero (1979) . The book therefore arose from the dual desire to shed light on the International Women’s Day protests of 1979 and to reflect on the complex mechanisms that led to their historical obscuration.

Designed by Francisco Baquerizo Racines and Linus Bonduelle.