Edited by Tom Engels, Yana Foqué & Krist Gruijthuijsen, preface by Maxine Kopsa.

SUZON—both a reprint of Raimundas Malašauskas sold-out book Paper Exhibition from 2012 and a new collection of writings by the author that have happened since—offers a window onto Malašauskas’ worldview, based on collective improvisation, congregation and continuous drift. It includes essays, exhibition guides, personal letters, song lyrics, an opening speech and a cocktail recipe offering a glimpse of what perhaps in a few years we will look back upon as L’esprit du temps.

Re-Materialization of Language. 1978–2022 represents the first attempt at a philological reconstruction of the seminal exhibition Materializzazione del linguaggio, while simultaneously re-activating and re-contextualizing its historical themes in the present.

Long overlooked, the 1978 exhibition, curated by Mirella Bentivoglio and dedicated to the verbo-visual explorations of eighty international women artists across diverse materials and practices, both individual and collective, marked a belated reintegration of women’s and feminist art practices within an edition of the Biennale di Venezia that was not yet fully aware of their significance.

Featuring Annalisa Alloatti, Mirella Bentivoglio, Cathy Berberian, Tomaso Binga, Irma Blank, Monica Bonvicini, Irma Boom, BRACHA (Bracha L. Ettinger), Blanca Calparsoro, Françoise Canal, Matilde Cassani, Paula Claire, Rochella Cooper, Betty Danon, Sonia Delaunay, Agnes Denes, Chiara Diamantini, Neide Dias de Sá, Lia Drei, Janie Van Den Driessche, Anna Esposito, Amelia Etlinger, Sylvie Fauconnier, Maria Ferrero Gussago, Mona Fillières, Gisela Frankenberg, Luisa Gardini, Ilse Garnier, Rimma Gerlovina, Natalia Goncharova, Pat Grimshaw, Bohumila Grögerová, Shasha Guiga, Elisabetta Gut, Micheline Hachette, Ana Hatherly, Annalies Klophaus, Janina Kraupe, Christina Kubisch, Ketty La Rocca, Katalin Ladik, Maria Lai, Liliana Landi, Sveva Lanza, Paola Levi Montalcini, Laura Marcheschi, Lucia Marcucci, Benedetta Marinetti, Silvia Mejía, Gisella Meo, Aurèlia Muñoz, Giulia Niccolai, Anna Oberto, Anésia Pacheco e Chaves, Anna Paci, Anna Paparatti, Jacqueline Phanelleux, Jennifer Pike, Marguerite Pinney, Betty Radin, Regina (Cassolo Bracchi), Ol’ga Rozanova, Giovanna Sandri, Anne Sauser-Hall, Evelina Schatz, Mira Schendel, Greta Schödl, Eleanor Schott, Berty Skuber, Mary Ellen Solt, Marlise Staehelin, Varvara Fyodorovna Stepanova, Wendy Stone, Chima Sunada, Jacqueline Tarkieltaub, Salette Tavares, Biljana Tomić, Jean Trevor, Nora Turato, Carla Vasio, Tatiana Vladimirova Vechorka, Patrizia Vicinelli, Florence Villers, Simona Weller, Francine Widmer.

Inklusive is a play written by Bavarian playwright Franz Xaver Kroetz.

It is part of a trilogy of radio plays from 1971 titled Trilogie Münchener Lebens. The play was first broadcast as a radio play in former West Germany on Südwestfunk in 1972. A second version was broadcast in former East Germany on Rundfunk der DDR in 1974. The West and East German broadcasts are the basis for two radio play adaptations by artist Christopher Williams. Both adaptations are recorded in German using the same technology used to produce the original broadcasts of 1972 and 1974.

Emerging from the 1990s New York fashion scene, Susan Cianciolo garnered a cult like following for her label RUN. Since exiting the fashion world in the early 2000s, Cianciolo has become renowned for making art that delves into memory and the spiritual. Fusing the language of textiles, painting, drawing and craft with the natural world she simultaneously conjures both the humble and the huge.

In this artist book, Cianciolo documents her love of trees and the land around Lovewell Lake and other lush areas that are particularly close to her and her family.

“For more than 35 years, Jochen Lempert’s photographs have stood out as a singular oeuvre within contemporary art. The trained biologist’s gaze is marked by constant wonder. At first, and not without irony, at the history and forms (and warps) of our cultural fascination for the inexhaustible potential of plants and animals. He is increasingly interested in the phenomena of perception and how they are translated into images, in the life forms of flora and fauna and their analogies to his own creative process… Following the publication of Phenotype in 2013 by Verlag der Buchhandlung Walther König, Natural Sources is Jochen Lempert’s second major artist’s book.”—Florian Ebner

Published on the occasion of Dean Sameshima’s recent solo exhibition at Soft Opening, being alone is edited by Antonia Marsh, designed by Robert Milne, and features a newly commissioned essay from American writer, critic and poet Bruce Hainley.

In each of the twenty-five black and white photographs that comprise Dean Sameshima’s recent series being alone, the outline of a solitary viewer sits bathed in light emitting from the glowing screen of a Berlin porn theatre. These cinemas offer the kind of encounter that has been described as an “anonymous being-together”, a space wherein an individual can project not only his own desire and sexual fantasy onto the screen but disidentify with the confining projections of the external world.

Designed to protect its occupants from judgement and persecution, the artist enshrines these private rooms, continuing his documentation of the architecture and physical characteristics of queer spaces. While Sameshima atypically retains the presence of bodies in these images, with no identifying features revealed, his focus locates more deliberately on the anonymity of these individuals alongside the emptiness that surrounds them.