Since the late 1970s, American artist Matt Mullican has developed a practice of performing under hypnosis that extends from his investigations into representation and subjective projection. The evolution of this body of work offers perspectives on repetition and renewal in performance practice. This book is the outcome of an extensive research project into Mullican’s hypnosis performances and a shared exploration of character construction, undertaken as part of the If I Can’t Dance project together with invited researcher Vanessa Desclaux. In her essay, Desclaux addresses the question of personification in light of her analysis of Mullican’s creative process.

KP Brehmer (1938–97) found new ways to visualise global capitalism which are of increasing relevance today. In collaboration with his Estate, this exhibition presents drawings, prints, paintings, films, objects and publications, many of which have never been exhibited before. This booklet was produced on the occasion of KP Brehmer. Real Capital–Production, 25 September–30 November 2014 at Raven Row, London, the first solo exhibition of Brehmer’s work in the UK.

A series of booklets produced on the occasion of If I Can’t Dance I Don’t Want to Be Part of Your Revolution’s 2013–14 Commissions.

Gerry Bibby’s booklet introduces the process of writing his novel The Drumhead and includes redacted editorial correspondence with novelist Natasha Soobramanien. Sara van der Heide’s booklet on her work Mother Earth Breathing includes an essay by Nikos Papastergiadis. Snejanka Mihaylova’s booklet about her work Inner Stage includes an annotated bibliography and part of the musical score to her performance A Song. Emily Roysdon’s booklet includes the original textual score to her new work Uncounted*.

Designed by Maureen Mooren.

“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years”—Céline Chazalviel, Revue Faire –To look at things #4, 2017

Acknowledged today as one of the most influential figures of post-war Yugoslavian art, mangelos is the pseudonym that the Yugoslavian art critic and historian Dimitrije Bašičević (1921–1987) used for his artistic activity, a parallel career he would only make public in the 1970s. Although he never considered himself an artist, he never stopped producing paintings, blackboards on which he inscribed poems, stories, quotations and philosophical manifestos, all inspired by his historical pessimism and the idea that language is infected by ideologies.

Edited by François Piron. Designed by Laure Giletti.

Produced on the occasion of the exhibition Heimo Zobernig, Mudam Luxembourg, 21 April–7 September & kestnergesellschaft Hannover, 21 November, 2014–2 February, 2015.

Heimo Zobernig (*1958 in Mauthen, Austria) occupies a central position in contemporary art with his diverse, genre- spanning work. The artist, who lives in Vienna, works with painting, sculpture, architecture, graphic and furniture design, video, performance and music. He often uses everyday materials such as cardboard, styrofoam, pressboard, linen and fluorescent lights to create his objects and spatial interventions. The unpretentious material, coupled with a simple, geometric use of forms, contributes to the soberly pragmatic impression.

With texts from Heinrich Dietz, Helmut Draxler, Veit Görner, Enrico Lunghi and Clément Minighetti.