Fifteen Feet by Eight Feet, And There are Two of Us in Here is dedicated to the daily work of an editor. Along with three other professional portraits, this piece belongs to a group of works that were exhibited at the Lisson Gallery in London in 1980, but have never again been considered in their entirety. Eva Schmidt is the first to reunite these works, taking into account archival materials and the publication of detailed conversations between the artist and the parties involved: It’s a piece of “mental history” at the beginning of Margaret Thatcher’s term in office and the neoliberalization associated with it in Great Britain.

More information on the work can be found here.

For decades Kevin Killian won laurels for his novels, his poetry, and his work in the poets theater of the San Francisco bay area. Drawing from the late 1980s to the early 2010s, this is the first representative selection of Killian’s plays. Once describing his productions as a form of “blanket permission,” Killian added, “I think people might come away thinking, I could do that! Isn’t that the best kind of work, something generative? Action painting was sort of like that…” This is a book to read, where reading means catching some action.

Winner of the 2020 International Griffin Prize. On October 27, 2003, Etel Adnan received a postcard from poet Khaled Najar, whom she had met in the late seventies. Originally in French, the poems it sparked collapse time, then expand it. War and love intertwine with coffee and bombs, memory and the present, evoking life in non-linear time. Originally written in French, this translation by Sarah Riggs is the first in English.

Produced on the occasion of Richard Tuttle’s exhibition Kill Someone: Arbeiten Auf Papier, at Christian Lethert, Köln, 6 September–31 October, 2019.

If winning can only occur in a competition between equal opponents, someone who isn’t equal will need to adopt a different strategy and let go of the promise, or the curse, of victory. Anna Zett takes up the challenge in this collection of personal science fiction, registering the traces systems of power leave in the body, in its locomotory, nervous and digestive systems. Zett’s voice appears in several textual guises, addressing authority, resistance, trauma and the physicality of language. Dedicated to the feminist revolution, the post-socialist subject of Artificial Gut Feeling questions logocentric and capitalist beliefs about the economy of meaning. This book gathers together fists, guts and brains to gain a deeper understanding of the non-verbal roots of dialogue.

Artist book with text drawings by Marc Nagtzaam, made between 1992 and 2019. Complementary to the writings, 24 artists contributions are inserted throughout the book. With contributions by Mark Manders, Louis Lüthi, Sue Tompkins, Stephan Keppel, Steve Van den Bosch, Nickel van Duijvenboden, Sophie Nys, Pierre Leguillon, Batia Suter, Experimental Jetset, Na Kim, Tim Hollander, Lily van der Stokker, Karin Herwegh, Karel Martens, Ruth Wolf-Rehfeldt, Kasper Andreasen, Jochen Lempert, gerlach en koop, Henri Jacobs, Anne-Mie Van Kerckhoven, Marijn van Kreij, and Willem Oorebeek.

As a continuation of the first Roma publication, SOME, dating from 1998, this book marks the 20+ years anniversary of Roma Publications. Designed by Marc Nagtzaam and Roger Willems. In an edition of 400, signed and numbered