Language is at the heart of Katalin Ladik’s practice. Her expansive attitude to poetry materializes on the pages of her books, in music scores, on the wall, through concrete poems, and visual collages, almost all of them accompanied by sonic interpretations that show the artist’s extraordinary vocal range.

All these works speak to Ladik’s process of “logopoiesis”: to bring into existence new registers of language through acts of poetry, utterance, and visualization. Or, to follow the title of her eponymous 1976-album, a process of “phonopoetica”, to understand poetry through the voice.

Memories of the Star (Žvaigždės atsiminimai) is an artist book by Elena Narbutaitė published in two separate Lithuanian and English editions alongside the artist’s solo exhibition Prosperity at the Contemporary Art Centre, Vilnius, 16 June–14 August, 2017.

With texts from Elena Narbutaitė, Candice Lin, Marcel Proust, Bernardo José de Souza, Luca Turin, Raimundas Malašauskas. Designed by Vytautas Volbekas and insert designed by Goda Budvytytė.

Documentation of the exhibition can be seen here.

Produced on the occasion of the exhibition Prunella Clough at Annely Juda Fine Art, London, 24 May–8 July 2017.

Prunella Clough found her subjects by touring London’s industrial wastelands and bombsites – docks, power stations, factories and scrapyards – creating gritty, urban images. Her work – comprising paintings, collages, drawings, reliefs and graphics – increasingly centred on the components of the cityscape as her art, shifted away from representation through various influences including cubism and European abstraction.

*Please note this publication is secondhand and may have some traces of previous ownership.

Produced on the occasion of the exhibition Beth Laurin: Provisorium at Index – The Swedish Contemporary Art Foundation, Stockholm, in Fall 2017, this book provides an extensive overview of the work of Swedish artist Beth Laurin (born 1935 in Stockholm). Since the 1960s, the artist has developed an impressive body of work which includes sculpture and objects, performance, drawing, sound, text, photography and video, often incorporating found things, personal materials, texts and newspaper clippings that are used with a resonance of associations and potential meanings. Her work has developed in correspondence with political movements, such as early feminism, but with a highly idiosyncratic approach that looks extremely contemporary until today. [publisher’s note]

With texts by Beth Laurin, Leif Elggren, Jaleh Mansoor, Axel Wieder, and Josefine Wikström. Designed by HIT.

Produced following the eponymous exhibition at Sant’Andrea de Scaphis, Rome, from November 21, to December 19, 2015.

Following the artists’ previous series of life-size puppets in Die Schmutzigen Puppen von Pommern, this new publication presents a collection of one hundred sixty-four small puppets.

Produced on the occasion of the exhibition R. H. Quaytman: An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017–28 January, 2018.

“R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices particular words, and how each is not just that one word, but other words as well. Quaytman’s paintings, organized into chapters structured in the form of a book, have a grammar, a syntax, and a vocabulary. While the work is bounded by a rigid structure on a material level—appearing only on beveled plywood panels in ten predetermined sizes derived from the golden ratio—open-ended content creates permutations that result in an archive without end. Quaytman’s practice engages three distinct stylistic modes: photo-based silkscreens, optical patterns such as moiré and scintillating grids, and hand-painted oil works. Each chapter is developed in relation to a specific exhibition opportunity, and consequently, each work is iconographically bound to its initial site of presentation.”—Miguel Abreu Gallery, New York