Produced on the occasion of the exhibition, Isa Genzken—Works From 1973 To 1983, at the Kunsthalle Basel, 5 September, 2020–24 January 2021, which is dedicated to the artist’s early oeuvre. The publication opens with works from her time as a student at the Düsseldorf Academy of Fine Arts (1973-1977) and details the evolution of her art up to 1983. The works shown include sculptures, computer printouts, extensive series of drawings, photographs and films. The artist blends conceptual approaches with personal themes; many works that initially seem to be exercises in geometric abstraction prove upon closer examination to be traces of her own existence, telling stories of personal relationships and the vagaries of desire.

Edited by Marja Bloem, Krist Gruijthuijsen, Lauren van Haaften-Schick, Sara Martinetti & Jo Melvin.

Better Read Than Dead was the title Seth Siegelaub had chosen for an anthology of his own writing—one of the projects for which he never found the time, busy as he was running his global one-man operation. The selected writings, interviews, extended bibliography and chronology in this source book fill historical gaps in the sprawling network of exhibitions, publications, projects, and collections that constitute Siegelaub’s life’s work. “Siegelaubian paperwork” comprises Siegelaub’s writings, which are reproduced as scans in order to convey the variety of the documents and to give a sense of archival immersion.

Produced on the occasion of Jochen Lempert’s exhibition Hochsommerliche Aerosole at Richas Digest, Köln, 14 August–5 September 2020

Jochen Lempert photographs the animal world in the most diverse contexts: from their natural habitat to the museum of natural history, from the zoo to the urban environment, in remote places or banal settings and situations. Lempert compiles his findings in a vast archive of images covering an ample spectrum, from common everyday views, to compositions that tend towards abstraction. This interest in the natural world as a subject has been further complemented by his exploration of the properties and materiality of the photographic image. Analogue, black and white, hand-printed in the darkroom, his photographs resist categorization and confront the canons of today’s aesthetic.

More information on the exhibition can be found here.

Sweat brings together images of sweat forms taken by Alex Farrar and collated from Instagram, celebrity websites and photo libraries. Stock and staged imagery are displayed alongside paparazzi shots and documentary images. The suggestion of a figure builds accumulatively as we flick through the pages, our eyes grow accustomed to seeing a body that is never fully explicated. Why sweat?’ Hand numbered in an edition of 150.

Produced on the occasion of …(illegible)…, an exhibition that explored queer abstraction as a contemporary conceptual methodology. The term ‘queer abstraction’ describes the potential of an artwork to communicate something of lived queer experience(s) through seemingly non-referential, abstract visual language. This position makes space for a critique of the notion that artworks should present as explicitly, legibly queer according to signs or qualities allocated to the art-historical category of Queer Art.

Curated by Andrew Atchison and including artists Briony Galligan, Mathew Jones, Paul McKenzie, John Meade, Fiona Macdonald and Scott Redford.

Designed by Paul Mylecharane.

Assigned its own ISBN, which also serves as its textual and/or graphic content, BOOK/MARK is a publication in the form of a bookmark. Produced on the occasion of the Moveable Types book fair at Witte de With, Rotterdam in February, 2020 by Mitchel Cumming and Maria Smit.