“Vogliamo tutto: We want everything—all the wealth, all the power, and no work.”

Torino, 1969. Fiat’s giant Mirafiori plant is a magnet for thousands of young southern workers, who go north to escape oppression, poverty and underdevelopment and find only exploitation and abuse on the assembly lines.

Nanni Balestrini draws on interviews, flyers and the movement’s bulletins to document workers’ experiences on the factory floor, in the meetings and demonstrations and, finally, at the barricades, creating a poetic remix of a novel, a searching documentary and a call to arms for a just society.

Translated from the Italian by Matt Holden. Designed by Warren Taylor.

Etel Adnan is a Lebanese-American poet, visual artist, and essayist. Her rich body of work documents an unblinking witness to beauty in nature, human beings and art; to cruelty, especially as enacted in the mindless violence of war; and to the power of love and human perseverance. In Premonition the voice is wise and paradoxical, opening with the observation, “There’s always a conductive thread through space for untenable positions.” Sentences are set apart in aphoristic cuts never wholly separate from this “conductive thread,” and always shaped by the gem-like compressions of poetry. Premonition is a short book that refuses finality in a world of contingencies and human unpredictability.

Stephen Willats has made work examining the function and meaning of art in society since the 1960s. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy. This manifests in wall installations, project works, films & computer simulations, drawings & diagrams, bookworks and texts.

Produced on the occasion of the exhibition Representing the Possible at Victoria Miro, London, in spring 2014. Representing the Possible brings together previously unseen works on paper from the 1960s and the present day in a specially conceived installation. Comprising four large-scale site-specific wall drawings, the installation transformed the gallery’s architecture into an immersive drawn environment with 37 individual works on their surfaces.

This publication is devoted to a little-known temporary artwork of Thek’s, made in the winter of 1973/74 while he was a guest of the Lehmbruck Museum in Duisburg. His expansive environment Ark, Pyramid–Christmas (“The Manger”) filled a whole room. This exhibition, organised by the director of the museum at the time, Siegfried Salzmann, was the fourth in Thek’s series of atmospheric, large-scale projects in Europe, which engaged with individualised religious symbols. The festive period provided Thek with the occasion to present, for the first time, a self-written theatre piece in the form of a nativity play featuring children from Duisburg. A great quantity of original material and documents have been discovered in the museum’s repository and enable a reconstruction of the exhibition in this book, accompanied by an interview that Marietta Franke conducted with Franz Deckwitz, who helped with the installation in 1973.

Clairvoyant Journal 1974 by Hannah Weiner (1928–1997) is based on the typescripts Early and Clairvoyant Journals and includes the entries dated February 23 to June 10. This new edition of Clairvoyant Journal features an “Afterword” by Patrick Durgin, which completes his study on Hannah Weiner’s “clair-style” writing (“BIG SENSIBLE, Introductory Remarks on Clairvoyant Journal”) previously published on www.f-u-t-u-r-e.org.

With Clairvoyant Journal, Hannah Weiner writes a specific form of diary, using the characteristics of typographic styles (roman, italic and CAPITAL) to present an inner discussion between three separate voices. Clairvoyant Journal also gives an insight into the daily life of a writer living in New York in the 1970s, evoking a poetic, musical, and artistic scene, yoga and a poetical experience.

This series of 23 new (Soma)tic poetry rituals and resulting poems by CAConrad create what we can refer to as an “extreme present” set to reveal the creative viability of everything around us. Poetry rituals such as riding escalators and showing photographs of himself to strangers asking, “Excuse me, have you seen this person?” In another he pollinates flowers for security cameras, exclaiming, “I’M A POLLINATOR, I’M A POLLINATOR!” One was written with a ghost, another by stargazing to build his own constellations. (Soma)tic rituals are a practice of unorthodox steps aimed at breaking us out of the quotidian and into a more political and physical spiritual consciousness of The New Wilderness.