Artist Gerry Bibby’s first publication is a work of fiction that expands on the use of text in his sculpture, performance, and image work. Evoking William Burroughs’s The Wild Boys and Robert Walser’s The Walk, these “language costumes” pay homage to an unruly tradition of radical and queer literary presences over the last century. Their captivating passages brim with wit, wry observation, and (occasional) disgust, offering viewers “ways out,” even if only while reading.

Commissioned by If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, The Drumhead follows a two-year collaboration with KUB Arena of the Kunsthaus Bregenz, The Showroom London, CCA Glasgow, and the Institute of Modern Art, Brisbane. The book immodestly distills these institutional encounters into a multipart narrative that delves into the lives and psyches of those in the service industry. Exhaustion and frustration besiege a set of characters and the architecture that barely contains them, all of which are cipher-like in their multiplicity (and duplicity). Designed by HIT.

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.

Published by Raven Row, London, this publication was produced alongside the first survey of his work from the 1960’s. Introduced to art as a teenage gallery assistant in 1958, by 1962 he was producing advanced artwork, embracing the transdisciplinarity of the time, while juggling the roles of social scientist, engineer, designer and artist. With texts by Antony Hudek, Emily Pethick, Christabel Stewart and Andrew Wilson. Designed by John Morgan Studio.

This publication attempts to map a visual approach to one of the world’s foremost documentary and essay filmmakers, Harun Farocki.

Unlike the many other, more theoretical publications about his work, this book operates with still images beyond an illustrative or documentary purpose.

By means of repetition, interruption and displacement, the configurations pursue specific movements within each film, taking into account mechanisms of order and open-endedness that are characteristic for Farocki’s work in general.

Diagrams traces the dynamics in ten of Farocki’s films and presents them along with each film’s complete commentaries, dialogues and intertitles, celebrating their major critical gesture: the exposition of mediality.

Edited by Benedikt Reichenbach. Text by Thomas Elsaesser, Maren Grimm, Jan Verwoert, Christa Blümlinger, Dietrich Leder, Ute Holl, Benedikt Reichenbach, Matthias Rajmann, Hila Peleg, Anselm Franke.

This two-part publication has been released in March 2014 on the occasion of the exhibition 01–72 by Daniel Gustav Cramer at SALTS, Basel. It consists of an artist’s book, giving more insight into the project and a reader with texts from Quinn Latimer, Kirsty Bell and an interview interview between Samuel Leuenberger and the artist. Designed by Ronnie Fueglister.

This publication was printed on the occasion of the exhibition Vestibule, Merrion Square, Dublin, curated by Aoife Tunney. The first publication portrays the park (Merrion Square), the second one features the exhibition space. “For the duration of the exhibition an iron sphere is buried in Merrion Square, Dublin”. Supported by Arts Council of Ireland, Dublin City Council and The Goethe Institut Ireland, May 2014. Edition of 500.

Sweet Sixties is a long-term trans-regional research initiative working between art, research, media, and educational contexts in Europe, the Middle East, western and central Asia, Latin America, and northern Africa. Involving a particular group of experimentally oriented arts and research groups as well as individual artists, researchers, and media, Sweet Sixties investigates hidden histories or underexposed cultural junctions and exchange channels in the revolutionary period of the 1960s.

In the 1960s, the landscapes and cities of protectorates and former colonies from India to the Maghreb, from the Soviet Republics to the new states in the southern hemisphere were replete with the spirit and forms of modernity, forms that transmogrify and then dissolve into the thin air of the vernacular. The air of the 1960s echoes a spirit of emancipation. And the newly arising art-scapes are interspersed with double agents: diasporas bring their academies; the streams between Soviet, North and South American, Western European, Non-Aligned, etc., are full of interlocutions, hidden pathways, and narratives of trade routes beyond the seemingly stable hegemonies of the blocs. The stories and spirits of a parallel avant-garde, whose silhouettes have yet to be found on the walls of the Western canon, are the theme of this publication.