Produced on the occasion of Simone Fattal’s exhibition metaphorS, at Secession, Vienna, 21 June–8 September, 2024.

The publication includes a series of collages and drawings by the artist, inspired by Gustav Klimt’s Beethoven Frieze. A reproduction of a new collage is inserted into the book.

Designed by Sabo Day.

Each publication contains a unique photograph taken during a journey crossing the Albanian mountains in the summer of 2023. Edition of 50

CIX (2024) is a work by Daniel Gustav Cramer consisting of 50 printed sheets of paper inserted separately into 50 publications

Every morning, a coyote roams its territory in Death Valley, California, tracing a large circle. Around the same time, a fox emerges from its shelter in Berlin and embarks on a similar route through the darkened city streets after sunset.

The publication brings these events together, forming an imaginative sculptural space inhabited by both similar-looking species.

Embedded in the language of visual and sound poetry, the practice of Tomaso Binga (Bianca Pucciarelli Menna, born 1931 in Salerno) is based on an ironic, insightful questioning of the idea of gender. In her work, this theme is not only a generator of identity, but also a way of looking afresh at the social roles, rights and opportunities traditionally available to women. Her decision to work under a male pseudonym from 1971 onwards was intended to parody male privilege and to provoke a barbed reflection on the political dimension of what it is to be a woman. Her attitude has served as a key marker within the gender equality issues at the center of the debate raging amongst the younger generations.

Designed by Lorenzo Mason Studio.

Conceived as a reader, this volume includes essays by cultural critic Elisabeth Lebovici, Claire Le Restif, Fiona Corridan, garden historian Marco Martella, and journalist and activist Cy Lecerf Maulpoix, a comprehensive interview with Jarman’s collaborator James Mackay, as well as testimonies—among other Jarman’s friends—by actress Tilda Swinton and musician Simon Fisher Turner, and an illustrated chronology.

Jarman’s militant Queer Paintings series (1992), his tender Super8 films from the mid-1970s, his emotional assemblages made at Prospect Cottage (Dungeness, Kent) whose cultivation was both a form of therapy and a metaphor for his own survival after he was diagnosed with AIDS in 1986, are considered together to focus on Jarman as a visual artist—a painter and an assemblagist—and how his artistic practice can be understood as a catalyst for his manifold activities and visions.

Published following Derek Jarman’s exhibition Dead Souls Whisper (1986–1993) at Le Crédac, Ivry-sur-Seine, in 2021.