The story of failure asks one question only: What do people who lose do next? “Let the best one win.” War is one way. The other way is religion. Let me at the stakes. It’s so much a matter of patience. No fury, beyond all reason, no sequence broken, but diverted. Nothing seems to cooperate when you lose control. Blue becomes violet. Bend your head to the blank. The solution is so simple: don’t identify yourself with your description of yourself.

Fanny Howe was professor emerita in literature at the University of California, San Diego, and the author of more than fifty books of poetry and prose. Howe taught literature and writing throughout her life and mentored a generation of American poets, activists and scholars working at the intersection of experimental and metaphysical thinking. She died on 8 July 2025 in Lincoln, Massachusetts.

This exhibition catalogue presents twenty color illustrations of paintings by the British painter Prunella Clough. Published to commemorate the first German presentation of the artist’s work at June Gallery, Berlin, the book focuses on the artist’s late-career departure from the industrial figuration for which she was known into a wry, quietly influential approach to abstraction. Included are works dated between 1960–1993.

Designed by Dan Solbach.

Begun in 2007 by artists Daniel Gustav Cramer and Haris Epaminonda, The Infinite Library is composed of an archive of over 100 books made through the recombination of pages from one or more found publications. Each book is dismantled, modified, and reorganized. Pictures and pages—momentarily out of order—are brought together to shape yet another whole. The concept for each new volume develops gradually, starting from the content of the original book and the associations that unfold in the process of making.

This publication fully catalogues the first 50 books in the series, and contains over 1600 photographic illustrations, 20 color inserted sheets, and a contextualizing essay by writer Brian Dillon.

Dedobbeleer is known for his sculptures and installations in which everyday objects (such as lamp, key holder, door knob, or plant pot) are modified, assembled, and recontextualized with a distinctive tongue-in-cheek—and at times even burlesque—spirit. Adorned with absurd (randomly chosen) titles, his works can be seen as joyful collisions of language and matter. Yet, this approach is not merely an act of formal entertainment. Nourished by an in-depth knowledge of art history and (seemingly) inexhaustible technical resources, the artist’s work establishes an ongoing dialogue with a broader tradition of sculpture, including its relation to architecture, industrial design, DIY culture, images, and book making.

Puglia. Tra albe e tramonti offers an account of Luigi Ghirri’s relationship with Puglia — a distinctive region, which was pivotal in establishing Ghirri’s career and continued to inspire him throughout it. A first visit in 1982 introduced Ghirri to Puglia’s whitewashed streets, luminescent nights, doorways and arches, potted cacti, funfairs, and beaches, as well as a group of artists, critics, and curators who would become his close friends and collaborators. Over the following decade, Ghirri returned to the area almost every year, photographing, exhibiting, and deepening his understanding of its subtle terrain.

Tabea Blumenschein (1952–2020), Hilka Nordhausen(1949–1993), and Rabe perplexum (1956–1996) were eccentric artists of the eighties – they deviated from norms and operated outside of the centre in subcultural milieus. They worked in friendly constellations in the cities of Berlin, Hamburg, and Munich. Blumenschein, Nordhausen, and perplexum represented images of gender and identity that weren’t recognized at the time and lived their sexual orientations in a non-conformist manner.

Their lives and works are activated here by contemporary artists Ergül Cengiz (3 Hamburger Frauen), Philipp Gufler, and Angela Stiegler in a series of images and texts.