Revenge publishing? A new genre? Or has it been around since writers first put pen to paper? Isn’t all writing to some degree a means to avenge an oversight or a rejection, intending to set the record straight? A number of pieces in this collection which were commissioned, accepted, and paid for, never appeared for one reason or another, whether devious or common: books don’t always cross the finish line. Years go by. Patience evaporates. Corrected Proofs aims to seek remedy. In addition to previously unpublished pieces, a number of essays and interviews were written specially for this collection: on Lutz Bacher and Charles Ray, with Arnold J. Kemp. There are heroes and villains, from the assassins John Wilkes Booth and Lee Harvey Oswald, to Felix Gonzalez-Torres, Cady Noland and Steven Parrino. Here the reader encounters usual suspects in unexpected context—Marcel Duchamp, Ed Ruscha and Andy Warhol—and artists recently rediscovered—Bob Smith and Stephen Varble—alongside Lee Lozano, the January 6 insurrection, and The Fall.

Founded by Curandi Katz in 2011, The Pacifist Library is a nomadic library and framework for interventions that fosters the exchange of radical ideas in public spaces, art institutions, and libraries. It has appeared at venues such as Kunsthalle Düsseldorf, CCA Glasgow, Flux Factory New York, the Sarajevo International Festival, and the NY Art Book Fair at MoMA PS1, among others.

This bibliography, compiled and edited by Ian Clewe, highlights The Pacifist Library’s collection of books and fanzines on nonviolent social change.

The human body is a central focus in Philipp Gufler’s mirror painting series. Looking at the work, the spectator is confronted with their own image. To make these works Gufler uses a silkscreen printing technique on mirrored glass in order to produce layers of translucent pigment.

“Gufler’s ‘mirrorical’ art passes through the looking glass; his spaces are traps for the gaze. The reflective surfaces and diaphanous scrims in his oeuvre function as projection screens and as obstacles in games of identification and disidentification; recognition and misrecognition; self-performance and self-alienation.“ Sven Lütticken. Designed by Sabo Day.

Of course there is the practice of art by the artist, but an exhibition is even more so an engagement between people, places, institutions, projections, desires, coincidences, memories, and temporalities. In this monograph, artist Megan Francis Sullivan chooses the format of oral history, engaging various akteurs of the field to produce a web of language reflecting a shape of time.

With discussions with Jean-Claude Freymond-Guth, Melanie Ohnemus, David Lieske, Cornelia Kastelan, John Rasmussen, Marie Angeletti, Kelsey Olson, Megan McCready, Sara De Bondt, Antony Hudek, Alexander Schröder, Valérie Knoll, Helmut Draxler, Aura Rosenberg, John Miller, Robert Müller, Cecilie Norgaard, Moritz Scheper, Maximiliane Baumgartner and an essay by Hannes Loichinger, “The Painting of Hans Haacke.”

Produced on the occasion of Ed Atkins’ The worm, 1 June – 1 July, 2023 at Parnassusweg 220, Amsterdam as part of the Holland Festival. Atkins presented a telephone call with his mother. “[She] is heard but not seen, while Atkins is rendered, by way of performance-capture technology, as a digital avatar who listens attentively, mumbling in agreement, sympathy, or surprise, asking a question only when her narrative falters.”

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition Yayoi Kusama: De Nederlandse jaren, 1965-1970 at the Stedelijk Museum, Schiedam, 23 September, 2023 – 25 February, 2024.

This publication describes Kusama’s formative but underexposed Dutch period through essays by various art specialists, numerous previously unpublished photos, newspaper reports and personal recollections by eyewitnesses, from Phil Bloom to Henk Peeters.