”Iʼve gathered so many books (….), all about the family. This is all washing over me like a waterfall. I canʼt figure out the genealogy, the chronology flows like currents that wind around each other at different rates. (…). And now Iʼm recognizing that Iʼm part of this tribe, this family of writers writing about our tribe.”

These sentences can be found in Simone Fortiʼs new publication, The Bear in the Mirror—a wonderful collection of stories, prose-poems, drawings, photos, letters, notes and memories.

Simone Forti dives into the (his)stories of her family and of the woollen mills they once owned, trying to put all the myths and fragments of information into some kind of perspective.

Edited by Roos Gortzak and Quinn Latimer. Designed by Nerijus Rimkus.

Casual Relationships explores the mechanisms at work in the construction of visual culture. By carefully curating and simulating photographs from contemporary vernacular sources, Max Creasy identifies the way these images are endorsed within social groups and norm circles. The sequencing and design of the publication articulate the associations and patterns discerned from this promiscuous collection of images. The book is offered as a 56pp single section mounted into a case with exposed core and 4 foil blocks to cover.

Designed by OK-RM, London.

An artist book by Jay Chung and Q Takeki Maeda that offers summaries of several hundred documents from the archive of gallerist Alfred Schmela, now housed in the Getty Research Institute collection. Through his gallery, Schmela introduced and promoted innovative European and American artists such as Joseph Beuys, Arman, Gerhard Richter, ZERO (Otto Piene, Günther Uecker and Heinz Mack), Hans Haacke, Christo, Lucio Fontana, Robert Indiana and Yves Klein. For Letters, Chung and Maeda concentrate on the final years of the gallery’s operations, beginning from 1980 when, upon his death, the gallery was taken over by Schmela’s daughter Ulrike. With active support from his wife Monika, the gallery operated under Ulrike’s directorship until its closure in 1992.

Edition of 300. Introduction by Helen DeWitt. Designed by Ronnie Fueglister.

To Become Two: Propositions for Feminist Collective Practice offers a narrative of artist Alex Martinis Roe’s research into a genealogy of feminist political practices in Europe and Australia since the 1970s including: Milan Women’s Bookstore co-operative; Psychanalyse et Politique, Paris; Gender Studies (formerly Women’s Studies) at Utrecht University; a network in Sydney; and Duoda—Women’s Research Centre and Ca la Dona, a women’s documentation centre and encounter space in Barcelona. Drawing from their practices and experiences, Martinis Roe’s research proposes a trans-generational approach to feminist politics.

This publication accompanies two exhibitions of recent sculptural work by the artist Magali Reus: Hot Cottons (2017–18) at Bergen Kunsthall and As mist, description, (2018) at the South London Gallery. Featuring an essay by writer and curator Laura Mclean-Ferris and a poetic response by writer and poet Quinn Latimer as well as a fully illustrated overview of Reus’s work, this catalogue provides an in-depth exploration of the artist’s recent sculptural practice.

Producing a sculptural language that is both familiar yet unlocatable Reus draws heavily on the past and present landscape of industry and fabrication, creating forms using a plethora of materials that include: mesh, jesmonite, cotton, steel, rubber, leather. Interested in collaborative processes of making, from virtual design to handmade fabrication, Reus combines sculptural games with material explorations.

Designed by A Practice for Everyday Life.

Produced on the occasion of Continuous Moment: Le Desir/Lejeuner, presented by Melbourne Srt Theatre at the Gossard Theatre, RMIT School of Art, June 25, 2018.

Continuous Moment: Le Desir/Lejeuner is part of Bertoli’s ongoing research and investigation into Picasso’s play Le Désir Attrapé par la Queue (Desire Captured by the Tail). Referring to both a 1944 reading of the play and a staging of the play in 1967 by Jean Jacques Lebel, Bertoli’s work addresses ideas of repetition, reprise and continuity. Like Picasso’s text and Lebel’s production, Bertoli draws on a vast network of references and influences. In this light,Continuous Moment: Le Desir/Lejeuner can be understood as an assemblage of existing voices through which Bertoli is part of the aggregating authorship around ‘Le Désir’.

Designed by Warren Taylor.