With more autonomy in 1974, Kosovo saw an upsurge in urban planning and architectural freedom, enabled by modernism and in turn expressed through competitive sports and a shift away from ethnic particularities, which signalled a shift West. May 25 is now October 1 is an extensive research across Kosovar newspapers published between 1974 and 2018. The book documents sports activities that took place in seven identical sports halls in seven cities of Kosovo. The images have been cropped, zoomed in on, and paired together by similarity. The choreography is not meant to render them jewels or treasures, but rather to help find their meaning beyond their meaning within the now unfashionable sports halls. Through repetition, the images and texts reveal the multifunctional nature of community space in which larger sociopolitical and cultural cycles are reflected.

The publication is a collaborative project bewtween Frac Île-de-France, the Cypriot artist Haris Epaminonda, and the Berlin designers Santiago da Silva and Simon Steinberger.

It recounts and translates the experience of the exhibition VOL. XVI, presented at Le Plateau in 2015, for which the artist had created a global environment. Through a series of parallel actions the whole exhibition was connecting the interior and exterior with the presence of an old Japanese man “living” in the exhibition and with two young women dressed in traditional Japanese costumes who were walking in the des Buttes-Chaumont Park in Paris.

With texts by Philippe Artières, Chris Sharp and Aurélie Verdier.

Produced on the occasion of Haim Steinbach’s exhibition appear to use at Tanya Bonakdar, Los Angeles, 16 March–18 May, 2019. With texts by Bruce Hainley, Akiva Lasry, John Miller, Elizabeth Lebovici and Haim Steinbach.

An A6 arts quarterly, distributed free in book shops and art galleries globally.

• Cover: Camille Paglia photographed by Heji Shin
• Hell Ain’t a Bad Place to be by Charles Asprey
• Camille Paglia On Alcohol and the National Minimum Drinking Age Act
• Camille Paglia On Kenneth Clark’s The Nude (1956)
• Daniel Pflumm: Hallo TV
• The Figures of Ain Ghazal
• Sacha Craddock on Alberto Savinio
• Arabic Typography: Lara Assouad’s Alphabet
• Alfred Kubin at The Lenbachhaus, Munich
• Cady Noland: An everyday hardware of brutality. As told by Kirsty Bell
• Picpus flea logo: Christian Flamm

This book is both a record and a theoretical expansion of the exhibition “All Men Become Sisters” at the Muzeum Sztuki in Łódź. Dedicated to the manifestation of sisterhood in art from the 1970s until today, the exhibition and the publication focus on art that resonated with feminist perspectives on work, production, and reproduction. “Sisterhood” is a key concept and an impulse to work with imagination; built on the foundations of second-wave criticism of the patriarchal exploitation of women, it poses questions about the future from the perspective of feminist economics and ethics of care. The exhibition included the following artists: Berwick Street Film Collective, Pauline Boudry/Renate Lorenz, Sarah Browne, Agnieszka Brzeżańska, Jan Czapliński, Ines Doujak in cooperation with John Barker, Köken Ergun, Hackney Flashers, Krystyna Gryczełowska, Margaret Harrison, Elżbieta Jabłońska, Birgit Jürgenssen, Irena Kamieńska, Ola Kozioł/Suavas Levy, Nalini Malani, Marge Monko, Şükran Moral, Teresa Murak, Letícia Parente, Agnieszka Piksa, Marcin Polak, Aleksandra Polisiewicz, Raqs Media Collective, R.E.P., Alicja Rogalska, Daniel Rumiancew, Jadwiga Sawicka, Allan Sekula, Jo Spence, Rosemarie Trockel, Agnès Varda, Mona Vǎtǎmanu/Florin Tudor, Zorka Wollny Copublished with Muzeum Sztuki, Łódź. Designed by Monika Zawadzki, Olo Jean-Claude Zawadzki

Female Orgasm: A codex of sorts, after Ursula K Le Guin is a hand screen-printed artists’ book by Emily Floyd produced in collaboration with Experimental Jetset, Amsterdam, published and printed by Negative Press, Melbourne, with text supplement by Anneke Jaspers. A typographic response to Le Guin’s Kesh word BANHE, meaning “acceptance, inclusion, insight, understanding; female orgasm. To include; to comprehend; to have orgasm (female).” The project belongs to a body of works that retrieve Le Guin’s language from an indefinitely deferred future, activating its revolutionary desire in the present.