Yuji Agematsu, Four Seasons is a unique artist book presenting the artist’s renowned zips, miniature sculptures comprised of reanimated urban detritus collected by Agematsu on daily walks in New York City and encased within the cellophane wrappers of cigarette packs.

The publication accompanies an exhibition at the Secession, Vienna of 366—one per day—of these arrangements from 2020, that infamous calendar year. The book features images of a selected month from each of the four seasons.

Designed by Studio Claus Due, Copenhagen.

For the first volume in The Leporello Series, Heimo Zobernig makes optimal use of the accordion format, allowing rhythmic wording and typography to seamlessly transcend from individual words and phrases to shapes and structure.

Inhabiting a space between book and paper sculpture, the leporellos are printed on delicate Mohawk Superfine Eggshell paper. Each volume in the series is limited to 250 numbered copies and come in a bespoke rigid box, with the title hot foiled both on its front and on its spine, allowing it to sit comfortably in a bookshelf when not on display.

Heimo Zobernig is an Austrian artist widely acclaimed for his works in a variety of media, ranging from painting and sculpture to video, performance and site specific installation and design.

Uneven Bodies (Reader) is a comprehensive collection of writing produced as an outcome of a symposium of the same name held in Aotearoa New Zealand in early 2020 that addresses the politics of collections today and the complex terrain of power in which this conversation sits. The collection places specific emphasis on Indigenous positions, linking this into the so-called international paradigm. Topics covered include collecting contemporary both inside and outside the institution, repatriation, deaccession, and Indigenous methodology in collection work. With keynote contributions from Prof Linda Tuhiwai Smith, Gabi Ngcobo, Dr. Clémentine Deliss, and Wanda Nanibush and nine other positions, the readers offers a template for how we can imagine collecting in the future; full of mutated spaces we don’t yet know how to move in, full of powerful languages we still need to learn how to speak, together. Designed by HIT.

Adapted from writings by artists and critics appearing in magazines, catalogs, and other recent publications, The Auratic Narrative was conceived by Jay Chung and Q Takeki Maeda as a framing device for their exhibition at the Kölnischer Kunstverein in 2019. The text-as-artwork offers a dramatic account of an unnamed artist’s ambivalence toward their professional milieu. Here the narrative is presented in its entirety along with bibliographical notes and an introduction by artist and writer Ariane Müller. Photographic documentation of the exhibition—the first survey of the artists’ collaborative practice—accompanies the work. Taken together, word and image chart a course through the show and the artists’ oeuvre.

For the first time, the 35 legendary box catalogues of Städtische Museum Mönchengladbach have been published as a book. Museum director Johannes Cladders developed the idea of catalogues in the form of a box with Joseph Beuys in 1967. Until 1978, Cladders worked closely with exhibiting artists to create such catalogues, which radically re-envisaged the traditional exhibition and museum publication. They embody the participatory approach of their time and instance a vision of a porous democratic work. Viewers are invited to actively participate in this artistic and institutional endeavour and engage both intellectually and physically. Researched by Susanne Rennert, designed by Petra Hollenbach, with photographs documenting all catalogues by Tobias Hohn & Stanton Taylor, and introductory essays by Susanne Rennert and Susanne Titz.

Set of 5 cards produced on the occasion of Jef Geys, Bergen Kunsthall, 20 November 2020–5 April 2021.

The exhibition at Bergen Kunsthall looks into some aspects that are specific to Jef Geys’ oeuvre, such as his work with pedagogy, architecture, and art history. Through a series of different chapters, the exhibition brings seminal works together with rarely seen objects and archive materials, focusing on the artist’s use of different production and circulation systems, such as the school, industrial workshops, rural spaces and the art world. His use of these distinct systems is explored as a questioning of authorship and identity, but also as an investigation of infrastructures through which meaning and knowledge is produced and distributed.

More information on the exhibition can be found here.

Nicholas Tammens’ talk Jef Geys and the School can be found here.