A poem first published in 1975 by Bern Porter, presented in alphabetical order, with the same number of acts for each letter. This new edition presents an additional introduction, transcribed from a reading given by Bern Porter on May 19, 1985, in Madison, Maine.

Bern Porter (1911–2004) was an American artist, writer, publisher, performer, and physicist. He was a representative of the Mail Art and Found Poetry avant-garde art movements.

Edited by Alice Dusapin and designed by Robert Milne.

The Happy End of Franz Kafka’s ‘Amerika’ is Martin Kippenberger’s (1953–1997) largest and most complex work. The artist spent several years preparing, researching and producing it. The installation, set out on a stylised football pitch, is made up of 50 table and chair ensembles. Alongside classic design icons and found pieces, it also includes furniture especially produced by Kippenberger as well as pieces by numerous befriended artists, including Cosima von Bonin, Tony Oursler, Ulrich Strothjohann, and Jason Rhoades.

This publication examines the work from various perspectives. It is the first time, thanks to extensive research, that the ‘biographies’ of the individual objects and the contexts of their creation and collection have been documented in such a detailed way, offering a new way to approach Martin Kippenberger’s life and oeuvre.

Produced on the occasion of the exhibition at Museum Folkwang, Essen (2021).

Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion, told through a decade of artistic and activist practice. The writing is a mode of recovery, it is pre-content shared to encourage open processes in art, thinking and action.

The Austrian Günter Peter Straschek belonged to the very first cohort of students at the Deutschen Film- und Fernsehakademie in West Berlin – alongside Hartmut Bitomsky, Harun Farocki and Helke Sander. He and many of his fellow students participated in the New Left movement, recording demonstrations and supporting campaigns. Straschek’s Western für den SDS (1967/68, cinematography: Holger Meins) depicts the development of the left as a learning process for women, whose consciousness grows through the movement, but who continue to have no say in it. It was seized by the governing body of the film school in 1968, never screened and consequentially became legendary. Western für den SDS was finally given its premiere in 2018 at Museum Ludwig, as part of an exhibition dedicated to Straschek. This book publishes previously unreleased work material related to the film, which is a key work of the student movement and of Günter Peter Straschek’s oeuvre. Includes a photo gallery from the Christopher Williams class, Köln, 2019.

Unbidden Tongues #4: Oral Informants draws on the work of Australia social historian Janet McCalman who, in 1998, published a comprehensive history of the Melbourne Women’s Hospital. Written through the medical records of the women who were at one time or another the hospital’s temporary residents, McCalman’s account draws on a vast archive of 14,000 gynaecology records and over 70,000 midwifery records to build the hospital’s history through the administrative documents that litter its archive. Composed of an article written by McCalman in 1999 as well as a case file of original nursing notes, Oral Informants presents the process of penning a (medical) history lesson uniquely based in the oral testimony of women.

Produced on the occasion of Howardena Pindell’s exhibition Rope/Fire/Water at the Shed, New York, 16 October, 2020–28 March, 2021.

Howardena Pindell is an American artist, curator, and educator. She is known as a painter and mixed media artist, her work is often political, addressing the intersecting issues of racism, feminism, violence, slavery, and exploitation.