Consisting of an internal report written by conceptual artist and philosopher Adrian Piper in 1998, Necessary Questions takes Wellesley College, Massachusetts—where she was then on staff—as a case study in institutional racism and neglect. As such, the report could be read simply as an administrative document, though one drenched in meticulously clear advice that could still be, despite being written twenty-three years ago, taken up on a glaringly universal level. Yet the role it went on to play in Piper’s life proves it’s not just a context-specific document, but an all-too-real example of exactly what it stood against: the ways in which the langue of protocol and the false façade of civility are utilised as tactics to ensure that one stays in their place.

It is the third title from Unbidden Tongues, a series edited by Isabelle Sully that focuses on previously produced yet relatively uncirculated work by cultural practitioners busy with questions surrounding civility and civic life—particularly so in relation to language.

The publication Mobil, autonom, vernetzt, Kritik und ökonomische Innovation in Ephemera der Konzeptkunst, 1966–1975 deals with the advertisements and exhibition announcements printed by Jan Dibbets, Adrian Piper, Daniel Buren and Eleanor Antin between 1966 and 1975. These ephemera—simultaneously works of art, advertising instruments, and documentations for artistic actions—are exemplary for the communication-based, flexible, and mobile practice of conceptual art. A 2015 interview with Barbara Preisig discussing ephemera can be found here.

Produced on the occasion of the exhibition I’M NOT A NICE GIRL! Eleanor Antin, Lee Lozano, Adrian Piper, Mierle Laderman Ukeles at K21 Düsseldorf.

The point of departure for the exhibition is a series of documents that have rarely or never been shown before— letters, concepts, and photographs from the Archive Dorothee and Konrad Fischer which chronicle contacts between the internationally influential gallerist Konrad Fischer and Lucy R. Lippard, as well as women Conceptual artists from the late 1960s and early 1970s such as Eleanor Antin, Hanne Darboven, Agnes Denes, Adrian Piper, Lee Lozano, Charlotte Posenenske, and Alina Szapocznikow.

Produced following the film project Conceptual Paradise, for which Stefan Römer conducted numerous interviews with internationally outstanding artists and art theorists for four years. With short texts by the artists interviewed in the film including; artists: Vito Acconci, Art & Language (Michael Baldwin, Mel Ramsden), Michael Asher, John Baldessari, Robert Barry, Hartmut Bitomsky, Mel Bochner, Gregg Bordowitz, Klaus vom Bruch, Daniel Buren, Victor Burgin, Luis Camnitzer, Jan Dibbets, Mark Dion, Sam Durant, Valie EXPORT, Stano Filko, Andrea Fraser, Liam Gillick, Dan Graham, Renée Green, Shilpa Gupta, Hans Haacke, Július Koller, Jiří Kovanda, Joseph Kosuth, Sonia Khurana, David Lamelas, Sol LeWitt, Thomas Locher, Marcel Odenbach, Yoko Ono, John Miller, Christian Philipp Muller, Adrian Piper, Yvonne Rainer, Allen Ruppersberg, Ed Ruscha, Martha Rosler, Allan Sekula, Peter Weibel, Lawrence Weiner, Stephen Willats, Heimo Zobernig and curators/theorists: Alexander Alberro, Benjamin H.D. Buchloh, Sabeth Buchmann, Charles Harrison (Art & Language), Geeta Kapoor, Geert Lovink, Seth Siegelaub, Gregor Stemmrich.

A trailer for the film can be seen here.

Beginning with the image of the small white monkeys, this book examines the author’s relationship with shame through a series of short studies on, amongst other things, cats, hair as a metonym for the self in poetry and fiction, and perceptions of sexual violence. Made through research into Glasgow Women’s Library’s Archive Collections and Lending Library, small white monkeys incorporates material from the library’s archives and the work of female creators past and present, including Anna Mendelssohn, Jean Rhys, Selima Hill, Adrian Piper, June Jordan, Denise Riley, Carolee Schneemann, Vahni Capildeo and Veronica Forrest-Thomson.

Rereading Appropriation reconsiders the artistic strategy of appropriation through later elaborated theories of affect, to explore how an understanding of ‘reciprocal investment’ reconfigures appropriation as an act that is based in connecting, acknowledging and being porous to material. Rereading Appropriation compiles texts read in the sister reading groups of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution during its Edition V – Appropriation and Dedication (2013–2014).