Copublished with Kunsthalle Wien on the occasion of Isa Genzken’s exhibition I’m Isa Genzken, the Only Female Fool, 28 May–7 September, 2014.

“The Only Female Fool” is how Isa Genzken describes herself in the self-chosen title of her exhibition at the Kunsthalle Wien. This statement is typical of the fluid boundaries between deep seriousness and the exuberant, eccentric spirit that pervades her work. Genzken’s artistic practice is characterized by a wide spectrum of media and forms, although her roots in sculpture always remain visible. The exhibition and catalogue focus on specific aspects of her oeuvre, including the mirror motif, the examination of architecture, and space as a social sphere; where early works are juxtaposed with series from later creative periods. Genzken’s collaboration with other artists and her admiration for certain artistic positions is also brought into focus, and selected works by Dan Graham, Gordon Matta-Clark, Jasper Johns, Gerhard Richter, Wolfgang Tillmans, and Lawrence Weiner are presented in dialogue with Genzken’s multilayered work.

Design by Kummer & Herrman.

Contributions by Manuela Ammer, Julie Ault, Monika Baer, Nairy Baghramian, Gerry Bibby, Jennifer Bornstein, Pauline Boudry & Renate Lorenz, Dragana Bulut, Katarina Burin, Françoise Cactus, Leidy Churchman, Ann Cotten, Juan Davila, Dominic Eichler, Elmgreen & Dragset, Yusuf Etiman, Isa Genzken, Susanne Ghez, Margaret Harrison, Daniel Herleth, Annette Kelm, Janette Laverrière, Adam Linder, Lee Lozano, Charlie Le Mindu, Shahryar Nashat, Gina D’Orio, Stephen Prina, Dean Spade, Ming Wong.

The Jahresring series is one of the longest continually published annual journals for contemporary art in Germany. The 61st edition is a reader and visual sampler with contributions from visual artists, writers, poets, musicians, choreographers, and designers. Bringing together a discursive array of forms and timbres, it takes an intertextual and interdisciplinary approach to exploring some contemporary cultural resonances with respect to gender and sexuality. In this sense, a “PS” or postscript might be understood as a place where relations or realities not explicitly stated in the main body of any given text, but nevertheless underpinning them, are revealed. A “PS” is a place of interpersonal agency; a compelling textual gesture that might add a “by the way” and an “also” and a “you know what we’re really talking about.” By its nature, a “PS” is contextualized and contextualizing. Though it may parade as the last word, it never is.

The Jahresring is published annually on behalf of Kulturkreis der deutschen Wirtschaft im BDI e.V.

This catalogue is published on the occasion of Isa Genzken’s exhibition Early Works that took place at Galerie Buchholz Berlin gallery in 2013. The book contains a new essay by Benjamin H.D. Buchloh, both in English and in German as well as an extensive documentation on the artist’s early work starting in the late 1960s.

Early Summer The End of Summer Late Autumn is a monographic book presenting the cumulative result of a three-partite project by Daniel Gustav Cramer and Haris Epaminonda. The two artists collaborated on a triptych of exhibitions that had as its starting point a series of observations and interpretations on the work of Japanese filmmaker Yasujiro Ozu. Late Autumn (Samsa, Berlin, 2010), The End of Summer (dOCUMENTA (13), Kassel, 2012) and Early Summer (Kunsthalle Lissabon, Lisbon, 2012) were intended as a single, larger project in which Ozu’s way of composing image and time was addressed and explored by the artists in an ongoing narrative that intersects all three exhibitions. This monograph, co-published with Kunsthalle Lissabon, thus not only constitutes the afterlife of their project, but also and above all, its conclusion. The book has become the only place in which the visual narrative conceived by the artists is made visible; through the book, space and time are finally aligned, thereby allowing readers to gain a more comprehensive insight into the project’s scope, which up until this point had only ever been partially understandable, as an inevitable result of the segmented nature of each individual exhibition.

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.