This book brings together a series of 30 photographs by André Cadere (Warsaw, 1934–Paris, 1978). The photographs, which have never before been published in their entirety, capture the artist’s wanderings through New York City during his first trip in November, 1975. He took with him several round bars of wood, including one of his size, which appears in all the photographs. These images imply the idea of walking and displacement that is always associated with Cadere, who is often considered as a sort of itinerant artist or a parasitic figure who inserted himself into places to which he had not been invited. They also capture the very spirit of New York, a city that is always changing, but that nevertheless always manages to retain its uniqueness.

My sweet little lamb (Everything we see could also be otherwise) is a series of exhibition episodes based on the Kontakt Collection and dedicated to the artist Mladen Stilinović, unfolded in Zagreb and London in 2016–2017. This publication, conceived as a “post-episode” of the project, presents extensive visual documentation of the exhibitions alongside newly commissioned texts by theorists and writers Branislav Dimitrijević, Miguel A. López, Oxana Timofeeva, and Marina Vishmidt. Drawing on the legacy of the Eastern European neo-avantgarde and the work of Stilinović in particular, these contributions grapple with urgent questions about the value of art and exhibition making. Including the work of Mária Bartuszová, Stano Filko, Tina Gverović, Katalin Ladik, Sanja Iveković, Běla Kolářová, Július Koller, Edward Krasiński, Dóra Maurer, Goran Trbuljak, KwieKulik, Ivan Kožarić, Vlado Martek, Mangelos, Heimrad Bäcker, Stephen Willats.

Between December 2022 and March 2023, Vivian Suter shared hundreds of photos, all taken with her mobile phone, with the designer and editor of this book. A selection of these snapshots, condensed, juxtaposed, complementing each other, now forms a kind of photographic journal. It offers insights into Suter’s work on her art and everyday life, which are inextricably interwoven: Photos of canvases and paint pots in the thicket of her jungle-like garden and in the studio, of her dogs, of the house with its characteristic aquamarine green and purplish-red walls, of family pictures, of the play of light and shadow in nature and architecture. Among the many photos, one occasionally finds images of watercolours on (coloured) paper, which the artist made especially for the book. Designed by Sabo Day.

R,C appeared in conjunction with the exhibition RHYTHM, CITIZEN by Maria Toumazou. It is the third in a series of small volumes of correspondence, responses, and conversations, which accompanies the exhibition program of Grazer Kunstverein. R,C is a visual and textual passage through living and making in the Nicosian landscape. It combines artist statement, photography, and rap. R,C summons three voices: On The Solitary Crossing Of Impassable Passages, a statement by Koula Savvidou, written on the occasion of her eponymous exhibition at Diaspro Art Center, Nicosia, in 1995; EXHAUST, a selection of lyrics written by ‘Tasos Lamnisos / x.ypno for EE&ET (2021), a 10-track album by steliosilchuk & x.ypno; and a selection of 26 photographs taken by Maria Toumazou between 2021 and 2022.

Editor: Tom Engels. Conceptual Development: Maria Toumazou, Tom Engels, Julie Peeters. Translation: EXHAUST: Tasos Lamnisos, Maria Toumazou/ On The Solitary Crossing of Impassable Passages: Maria Toumazou, Koula Savvidou, Tom Engels. Graphic Design: Julie Peters.

secrets is a publication that gathers words, and glass summoned by Elena Narbutaitė and Marija Olšauskaitė. It is produced in conjunction with sekretas (Lithuanian for secret), the exhibition by Marija Olšauskaitė at the Grazer Kunstverein, which departs from a recreational activity performed by youngsters in the former Soviet Union. Stealthily, children would enter a courtyard, woods, or plains and place small objects under a piece of glass: flower petals, pictures, a note, golden bottle caps, shells, and other idiosyncratic elements would be organised and composed into a material expression of friend-ship. The pane would then be covered with earth or dust, as a sekretas withdraws from the eye.

With contributions by Elena Narbutaitė, Marija Olšauskaitė, Maria Tsoy, Aleksandra Krivulina, and Tom Engels, designed by Julie Peeters.

Paul Thek’s Italian experiences between 1962 and 1976 left a deep mark on his sensitivity. From his visits to the Capuchin Catacombs to his witnessing of spectacular religious processions, Italy was a catalyst for several key moments in the artist’s career, triggering an elusive reaction in his practice to the trajectories of post-war American art. By reworking the stimuli gathered during his stays in Rome, on the island of Ponza and in Sicily, Paul Thek concocted a baroque response to Pop Art and Minimalism, which were dominant on the art scene of the time.

Texts by Nicola Del Roscio, Peter Benson Miller, Owen Laub, Robert Wilson. Designed by Francesca Biagiotti.