Magali Reus’ new photographic series, Knaves documents an array of mushrooms in headshot-like close up. As though in an al fresco portrait studio, the fungi are posed against backdrops of colourful vintage t-shirts – synthetic intrusions into the natural landscape.

This artist book sets images from the series within the sepia-tinted pages of a 1990s telephone directory for Park Cities – an area of Dallas whose name acts as shorthand for the way in which urban design domesticates nature for ease of human use.

Novelist, Kathryn Scanlan’s text zooms in on a series of fleeting quotidian dramas, mobilising a cast of evocatively named characters that, like Reus’ fungal protagonists, bloom and then disappear.

Morning Sun was written for Simon Moretti’s Crocodile Cradle, a group exhibition held at Peer, London, from 20 February – 20 March, 2021.

Produced as part of the exhibition Lost Weekend at Yvon Lambert, Paris. For the duration of the exhibition that happened simultaneously in two spaces titled Lost Weekend, Daniel Gustav Cramer declared the natural light falling into the space of the exhibition as the work. This publication was produced for the space of Yvon Lambert. Edition of 50

Produced as part of the exhibition I. Curated by Konstantin Haubrok at haubrok foundation. For the duration of the exhibition I at haubrok foundation, Petersburger Platz, Daniel Gustav Cramer declared the natural light falling into the space of the exhibition as the work. Edition of 50

Produced as part of the exhibition Lost Weekend at Galerie Allen, Paris. For the duration of the exhibition that happened simultaneously in two spaces titled Lost Weekend, Daniel Gustav Cramer declared the natural light falling into the space of the exhibition as the work. Edition of 50

Barbara Bloom and Ben Lerner share a fascination with intricate dramas of framing and reframing: what happens to an image or a phrase when it is re-encountered, recontextualized, recombined — when a particular frame of reference is established or collapses? How is meaning accrued or eroded through repetition, across pages or generations? How are images or sentences enlisted in — or suddenly freed from — the construction of our personal and collective mythologies?