What is the role of aesthetic processes in the drawing of the boundaries between nature and culture, humans and things, the animate and inanimate? Structured around the aesthetic processes and effects of animation and mummification, Animism—a companion publication to the long-term exhibition of the same title, brings together artistic and theoretical perspectives that reflect on the boundary between subjects and objects, and the modern anxiety that accompanies the relation between “persons” and “things.”

With works by Agency, Art & Language, Christian W. Braune & Otto Fischer, Marcel Broodthaers, Paul Chan, Tony Conrad, Didier Demorcy, Walt Disney, Lili Dujourie, Jimmie Durham, Eric Duvivier, Harun Farocki, León Ferrari, Christopher Glembotzky, Victor Grippo, Brion Gysin, Luis Jacob, Ken Jacobs, Darius James, Joachim Koester, Zacharias Kunuk, Louise Lawler, Len Lye, Étienne-Jules Marey, Daria Martin, Angela Melitopoulos & Maurizio Lazzarato, Wesley Meuris, Henri Michaux, Santu Mofokeng, Vincent Monnikendam, Tom Nicholson, Otobong Nkanga, Reto Pulfer, Félix-Louis Regnault, Józef Robakowski, Natascha Sadr Haghighian, Paul Sharits, Yutaka Sone, Jan Švankmajer, David G. Tretiakoff, Rosemarie Trockel, Anne-Mie Van Kerckhoven, Dziga Vertov, Klaus Weber, Apichatpong Weerasethakul.

Design by NODE Berlin Oslo.

Since the early 1980s, Friedl has written on a variety of subjects. The book Secret Modernity: Selected Writings and Interviews 1981–2009 compiles for the first time a representative selection of his (partly unpublished) texts, along with a series of interviews. As in his artworks, Friedl’s writings quote from and rework multiple genres. He offers reviews and portraits of George Sand and Clarice Lispector, of Alighiero Boetti and Jean-Luc Godard; articles and documents contributing to theater and film history, which examine the work of, among others, Richard Foreman, Robert Wilson, or Glauber Rocha; as well as comments and reflections on his own projects. Alongside these are essays delving deep into the past, exploring mainly colonial history and its paradoxical traces in the present: narratives about Haiti, South Africa, and Italy’s repressed colonial rule in Africa.

Edited by Anselm Franke. Designed by NODE Berlin Oslo. Co-published with Extra City Kunsthal Antwerpen.

Produced on the occasion of The Secret Paintings of Hilma af Klint, a Swedish Pioneer in Modern Art, organised by the Museum voor Moderne Kunst, Arnhem, from 7 March–30 May, 2010.

With esotericism, theosophy and Madame Blavatsky all the rage at the end of the nineteenth century, the Swedish artist Hilma af Klint (1862-1944), generally known then for her landscapes and portraits, began to participate in small séances. These eventually led to a body of secret paintings. Whilst having received the spirit ‘Ananda’ in a state of trance, in 1904, Af Klint, agrees to follow orders and starts a body of mainly abstract works, incorporating a heavy symbolic language. These works; about 1000 paintings and 124 notebooks, were not to be made public until 20 years after her death, fearing they would not be understood.

Was Ist Los is a facsimile reproduction of a 2003 essay by Seth Price, bound within a one-of-a-kind spray-painted cover. Previously published as "Decor Holes," "Unique Source/All Natural Suicide Gang," "Akademische Graffiti," and "Depletion," it was first written to accompany Price's 2006 album Akademische Graffiti.

(Mis)reading Masquerades comprises a selection of theoretical texts drawn from different fields of knowledge that address questions such as transgression, gender identity and subversion, gesture, the carnivalesque, the construction of subjectivity, authorship, mimesis, and alterity. The publication features introductions to each text by the participants of our monthly reading group, newly commissioned essays by writers and curators from the field of contemporary art and contributions by artists from the Dutch Art Institute (Enschede) and Piet Zwart Institute (Rotterdam).

The works of Daniel Gustav Cramer are based on accurate observations of ‘invisible’ moments that only reveal themselves at a second glance. In his photographs, text works and books, he depicts structured systems as well as personal experiences; large scale objects are next to the smallest ones, nothing is obvious. The work opens up in reflection.

Thirty-Six presents thirty-six works by Daniel Gustav Cramer in the restricted space of a book. It is an exhibition of Cramer’s works in its own right, that exceeds mere documentation and makes for multi-faceted new associations and moods.

Thirty-Six was published as part of the exhibitions Eight Works at Dortmunder Kunstverein, Germany and Six Works at the Return, Dublin, Ireland. The publication is a continuation of the recent exhibition series.