Produced on the occasion of the exhibition Lynda Morris / Dear Lynda… at White Columns, New York and Chelsea Space, London, 2012.

An exhibition that considers the ongoing practice of the British curator and writer Lynda Morris. As with the term ‘artist’s artist’ there should perhaps be an additional category of ‘artist’s curators’ for which Morris would be an exemplary figure. Having worked for most of her career in regional British cities (inc. Nottingham and Norwich), Morris’ ongoing advocacy for the social realities and political necessity of art is evident in her most recent major project “Picasso: Peace and Freedom” an exhibition and accompanying book that she organized for Tate Liverpool, England, a project that considered the legacy of Picasso’s involvement in and support of the Peace movement.

Including the work of Art & Language, Gilbert & George, Andre Cadere, John Baldessari, David Lamelas (whose early works Morris appeared in), Richard Hamilton, Bernd and Hilla Becher, Marcel Broodthaers, Gustav Metzger, Stephen McKenna, Nigel Henderson, John Wonnacott, Jeremy Deller, Lucy McKenzie, Marc Camille Chaimowicz, John Stezaker, and more—White Columns press release

Produced on the occasion of Michaela Meise’s exhibition Ding und Körper 30 January–29 March, 2009 at the Badischer Kunstverein, Karlsruhe.

Michaela Meise works in the formats of video, drawing, performance and sculpture. She investigates principles of sculptural and architectural arrangement, both in terms of their creative realization and in relation to their political and social contexts. Her works make reference to aspects of a Minimalist or Post-Minimalist art which she transfers onto everyday housing- and living-spaces. With this “applied Minimalism,” Meise is able to study structures of balance, movement, rhythm or design down to the smallest details, and to connect them to moments of private remembrance.—Badischer Kunstverein press release

Designed by Heimann und Schwantes.

Skizo-Mails is the first issue of the new book series Doormats published by Errant Bodies Press. Doormats seeks to unfold creative perspectives on what the political can be today: from critical appraisals of economic injustices to experimental research and projects on public life, the series aims for new political subjectivity. Doormats supports experimental writing, rants and poetics, reflections and commentary by international voices.

Franco “Bifo” Berardi (born 1948 in Bologna) is a philosopher, cultural theorist and political and media activist.  During the 1980s he contributed to Semiotexte (NY), Chimeree (Paris), Metropoli (Rome) and Musica 80 (Milan). In the 1990s he published Mutazione e Cyberpunk (Genoa, 1993), and more recently: Felix (London, 2008), The Soul at Work (Semiotexte, 2010) and After the Future (AK Press, 2011).

Libraries are generally perceived as storehouses, spaces of stable accumulation and containment. While the architecture may attempt to operate in this stable tone, the material contained within them is often far wilder. Histories, biographies, loose thoughts, detailed notations, bodies, and objects are all temporarily suspended, cataloged, and organized, creating relationships where perhaps previously there was none. An example of where the tension between what is contained in libraries and how it is contained emerges in a highly palpable way in the trajectory of the Staatsbibliothek Berlin. This new artist book by Ruth Buchanan charts three narratives associated with the life of this particular library. The anecdotes become both concrete examples and metaphors through which to interrogate the production, situating, and sharing of meaning.

With texts by Ruth Buchanan and Ian White. Designed by David Bennewith.

An artist publication produced by gerlach en koop, “Two seconds from the film ‘Close-up’ by Abbas Kiarostami (1990), starting from the moment the aerosol can is being absentmindedly pushed with the tip of the shoe. Because the street slopes down the empty can rolls on for about half a minute, further and further away from the camera, until it is stopped by the curb…”

Produced on the occasion of the exhibition ‘The Autumn of Modernism’ at De Vleeshal, Middleburg.

With a foreword by Franco ”Bifo” Berardi.

In Hito Steyerl’s writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in. The Wretched of the Screen collects a number of Steyerl’s landmark essays from recent years in which she has steadily developed her very own politics of the image. Twisting the politics of representation around the representation of politics, these essays uncover a rich trove of information in the formal shifts and aberrant distortions of accelerated capitalism, of the art system as a vast mine of labor extraction and passionate commitment, of occupation and internship, of structural and literal violence, enchantment and fun, of hysterical, uncontrollable flight through the wreckage of postcolonial and modernist discourses and their unanticipated openings.

e-flux journal Series edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle. Design by Jeff Ramsey, cover artwork by Liam Gillick