A video catalogue of the exhibition CONTINENTAL DRIFT (Conceptual Art in Canada: The 1960s and 70s) at Badischer Kunstverein, Karlsruhe, Germany, 19 April – 8 September, 2013. It was then compiled and *extremely compressed* into 24 minutes and 1 second by Dexter Sinister. The video is in English with an accompanying German transcript in this booklet. CONTINENTAL DRIFT was the first major survey of conceptual art in Canada, to be presented in Europe. It followed the emergence of local, hybrid practices and global networks within the context of the 1960s and 70s economic, social, and technological revolutions.

Produced on the occasion of the exhibition Memphis Milano, 1981–1988 at the Badischer Kunstverein Karlsruhe, 26 October–9 December, 1990.

The Memphis Group, also known as Memphis Milano, was an Italian design and architecture group founded by Ettore Sottsass, active from 1980 to 1987. Notable members include: Martine Bedin, Andrea Branzi, Aldo Cibic, Michele De Lucchi, Nathalie du Pasquier, Massimo Iosa Ghini, Michael Graves, Shiro Kuramata, Javier Mariscal, Alessandro Mendini, Barbara Radice, Peter Shire, Ettore Sottsass, George Sowden, Matteo Thun, Marco Zanini, Marco Zanuso.

Produced on the occasion of the exhibition Chris Reinecke – 60er Jahre-Lidl Zeit at the Badischer Kunstverein, Karlsruhe, 24 February–16 April, 2001.

Chris Reinecke’s boundary-crossing work from the late 1960s questions female role behavior, raises critical social awareness, and aims for radical political change. The concepts and actions realised between 1966 and 1971 need to be re-evaluated today, both within the art context and against the backdrop of current political and social developments.

Reinecke withdrew from the art world in 1970 and founded a self-help collective for tenant solidarity, organizing demonstrations and squatting buildings for the homeless. Later she withdrew in turn from politics and, out of the public eye, took up her artistic work again.

ART SOCIETY FEEDBACK is the first comprehensive monographic publication on the work of the British artist Stephen Willats. From the 1960s until today, Stephen Willats has developed a pioneering practice based on collaboration, interactivity and participation. His works, which are structured like charts and are frequently based on workshops in social focal points with a large number of participants, are intended to encourage viewers to engage with their own creative and cognitive processes, and thereby to examine and transform the way they perceive existing reality.

With texts from Ute Meta Bauer, Brigitte Franzen, Tom Holert, Emily Pethick and Andrew Wilson.

An edition produced in 2005 on the occasion of the exhibition series Critical Societies, which took place in four stages from 24 March–22 November, 2005 at the Badischer Kunstverein. Karslruhe.

Stephen Willats has made work examining the function and meaning of art in society since the 1960s. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy. This manifests in wall installations, project works, films & computer simulations, drawings & diagrams, bookworks and texts.

Begun in 2007 by artists Daniel Gustav Cramer and Haris Epaminonda, The Infinite Library is composed of an archive of over 100 books made through the recombination of pages from one or more found publications. Each book is dismantled, modified, and reorganized. Pictures and pages—momentarily out of order—are brought together to shape yet another whole. The concept for each new volume develops gradually, starting from the content of the original book and the associations that unfold in the process of making.

This publication fully catalogues the first 50 books in the series, and contains over 1600 photographic illustrations, 20 color inserted sheets, and a contextualizing essay by writer Brian Dillon.