Artist book by stanley brouwn, produced by the Wiens Verlag, Berlin in 2013.

The book is a reproduction of the book Taschenbuch der Münz-. Maass- und Gewichtsverhältnisse, Leipzig 1851. It dealt with the entire European measurement system in the middle of the 19th century.

Ian Wilson has been exploring spoken language as an art form since 1968. He has described his own work as “oral communication” and later as “discussion”. At Wilson’s own request, his work is neither filmed nor recorded, thereby preserving the transient nature of the spoken word. On April 28, 2013 a discussion, based on the topic of The Absolute in Art, took place at the Haubrok Foundation, Berlin.

Doug Ashford is a teacher, artist and writer. Ashford’s principle visual practice from 1982 to 1996 was the artists’ collaborative Group Material that produced over 40 exhibitions and public projects internationally. Group Material developed the exhibition form into an artistic medium using display design and curatorial juxtaposition as a critical location where audiences were invited to imagine democratic forms. Since 1996, Ashford has continued to make paintings, write, and produce museum and public projects. His book Who Cares (Creative Time, 2006) is a publication built from a series of conversations between Ashford and an assembly of other cultural practitioners on public expression, beauty, and ethics.

Published in conjunction with the exhibition Tradition at Marres, Centre for Contemporary Culture, 16 March, 2013– 19 May, 2013 and Grazer Kunstverein, 7 June, 2013 –11 August, 2013.

Produced on the occasion of Rossella Biscotti’s 2013 exhibition The Side Room, at Secession, Vienna, 5 July–1 September, 2013. With texts from Carolyn Christov-Bakargiev, András Pálffy, Bettina Spörr, Laboratorio Onirico.

Designed by Louis Lüthi.

The 5th installment of The Social Life of the Book series is a an assemblage of text fragments taken from different books by LA-based writer Chris Kraus, conceived and annotated by artists and writers Jon Bywater, Louise Menzies and Marnie Slater. By reading through Kraus’s texts looking for traces of New Zealand, where she grew up, the three Kiwis question the representation of the distant; how it is embodied by characters, situations, language, and in the writing/reading dynamics Kraus creates.

The Social Life of the Book is a collection of commissioned texts dealing with books, and how they engage with the circulation of ideas and the agency of social situations. It brings together artists, publishers, writers, designers, booksellers, etc. who consider books less as finished objects or forms but for their disruptive potential and their ability to produce new relationships, new publics and new meanings.

Designed by Will Holder.

In 1949 Munari designed for the first time a series of “libri illeggibili” (illegible books), which abandoned textual communication in behalf of aesthetic function only. Paper is no longer the support of only text, but it also communicates a message through the format, the colour, the cuts and their successions. The elements that usually set up a book (like the colophon and the title-page) are removed, and the reading seems the execution of a melody, with always different tones during the sequence of the pages.