Programme produced on the occasion of Playbill Act II: Moniek Toebosch at Torpedo Theatre, Amsterdam June 24, 2022.

Directly engaging with the theatrical setting of Torpedo Theater, the forty-five short texts composing theater-maker, artist, educator and broadcaster Moniek Toebosch’s 1994 work Kop op Kop [Head to Head] were performed as a one-person play by television and radio presenter Adeline van Lier. First exhibited as part of the Stedelijk Museum’s 1994 exhibition Couplet 3, the work—for which Toebosch wrote monologues and poems to accompany a selection of portraits held in the Stedelijk Museum’s collection—is one of many pieces produced by Toesbosch that interweave text with performance and/or its implications.

Designed by Maud Vervenne.

Edition of 80 copies signed and numbered by the artist, plus 8 artist’s proofs.

道具 / Tool consists of a set of four printed images of forks (two made of silver, two of plastic). Dramatically enlarged and slightly deformed, the utensils stand against a black background, strongly affirming their presence—until they are folded and put back in their custom-made box.

As in some of her previous works, Batia Suter is dealing here with typology and objecthood. These four images—which the artist photographed from her own collection of absurd cutlery—look like samples from a kitchenware catalogue focusing as much on the common features of forks as on their potential deformities and eccentricities. Recalling Karl Blossfeldt’s close-up photographs of plants, they highlight the specificity and variety of forms hidden in ordinary things, as well as the strange, almost threatening nature of these “predatory” tools.

Unbidden Tongues #7: Continuity Girl unpacks the ‘forensic feminist methodology’ developed by writer, curator and administrator Naomi Pearce. Informed by research conducted in various personal archives of women administrators of artist studio spaces in London from the 1970s until now, the components of Pearce’s writing span mortuary field notes, interview transcripts, intimate first-person accounts and an auto-fictive mystery novella. These various evidentiary approaches blend to form an unconventional casebook that puts forward the complicating factors underpinning the process of writing history in the first place. In this particular title, the biographical lens focuses on Shirley Read—a photographer, writer, teacher, administrator and oral historian, whose work has been largely overlooked, until now.

Produced on the occasion of the exhibition Cut a Door in the Wolf at MACRO Museum, Rome, 11 November, 2021–16 March, 2022. An exhibition in the form of a single, site-specific artwork by Jason Dodge. In exploring systems made up of organic and inorganic matter, he is interested in the refuse that humans shed every day: micro- and macro-landscapes made up of the familiar and often discarded things that result from our individual and collective habits. Dodge recognises this not as a singular artistic process, but rather as a shared landscape in which cause and effect are circular phenomena that belong to everyone. He therefore investigates the potential of his audience as producers of meaning. This publication documents the work through a series of photographs.

The first monograph on the artist Ulla Wiggen. This comprehensive catalogue contains new texts by Daniel Birnbaum, Peter Cornell, Sabeth Buchmann, and Caleb Considine. The publication reproduces nearly all of the artist’s paintings since 1963.

Produced on the occasion of Mathias Poledna’s exhibition Fine Important Post War and Contemporary at Galerie Buchholz, Köln, 12 May–18 June, 2022.

For this exhibition, the artist created a new suite of image-based works originating from Cold War era industrial photography. The materiality and visual regimes surrounding everyday and exclusive objects have frequently been at the centre of Poledna’s film installations as well as of auxiliary and independent works produced in a variety of media.

The publication contains poems by René Char which were set to music in Le Marteau Sans Maître by Pierre Boulez.