Carpark was an exhibition-for-documentation by David Homewood, Luke Sands and Alex Vivian that was held over three Tuesday mornings, 4th October, 18th October and 1st November 2016, at Kew Junction Woolworths underground carpark.

Included in this publication are various texts by Daniel Dawson: theories and conspiracies, shopping lists, debt lists and inventories, confessions, poems, posts, rants and stories that were written between 2014 and 2019 along with an essay by Justin Clemens. Designed by Alexandra Margetic.

Dear Clay gathers a selection of spreads extracted from Stéphanie Baechler’s meticulous sketchbooks displayed in chronological order (2013–2019), as well as 35mm photographs documenting her working process. Providing an intimate insight into her artistic practice, it reveals what facilitates the work from its conception to its making, transportation, and installation.

With texts by Zoë Dankert, Stéphanie Baechler, Jan Verwoert and Rudy Guedj. Designed by Rudy Guedj and Laura Pappa.

Night Philosophy is collected around the figure of the child, the figure of the child not just as a little person under the tutelage of adults, but also the submerged one, who knows, who is without power, who doesn’t matter. The book proposes a minor politics that disperses all concentrations of power. Howe chronicles the weak and persistent, those who never assimilate at the cost of having another group to dominate

Invitation produced on the occasion of Ilke Gers’ exhibition Postscript at LLS Paleis, Antwerp, 16–23 February, 2020.

More information on the exhibition can be found here.

Edited by Axel Wieder, with texts by Robert Glück, Ursula K. Le Guin, Audre Lorde, Eileen Myles, Alice Notley, Pauline Oliveros, Adrienne Rich and contributions by Basma Alsharif, Erika Balsom, CAConrad, Adam Christensen, Beatrice Gibson, Mason Leaver-Yap, Eileen Myles, Irene Revell.

Deux Soeurs brings together a chorus of voices that explore representations of parenthood, friendship, and disobedience. The book acts as a reader to artist Beatrice Gibson’s films, I Hope I’m Loud When I’m Dead (2018) and Two Sisters Who Are Not Sisters (2019), and includes material that informed Gibson’s working process, together with the artist’s texts and notes used in both films.

Designed by HIT.

You can listen to Beatrice Gibson’s podcast What’s Love Got To Do With It  here.

With mischievous wit and wisdom, Camnitzer’s writings summons an inherent utopianism in egalitarian, participatory models of art education to identify how meaning is made.

One Number Is Worth One Word spans over half a century of the Conceptual artist’s radical engagement with art education and its institutions, from his student days in Uruguay and move to New York in 1964 to his current work and writings, with many texts published for the first time. This is a singularly authoritative, antiauthoritarian gathering of a life’s work in art, education, and activism.