Produced on the occasion of Dora Budor’s exhibition OLD WORLD at Galerie Molitor, Berlin, 14 April–24 June, 2023. Limited edition of 100. Text by Gianmaria Andreetta. Designed by Dora Budor and Dan Solbach.

Angharad Williams’ book Eraser, concludes a two-year process of writing and has existed in the form of an exhibition, a performance, and now a book. Eraser is as much about the categorical boundaries of our consensual reality—between self and other, human and non-human, waking and dreaming consciousness—as it is about an urge to overcome them. The book’s main protagonist undergoes multiple transformations via psychic and physical transferences with elementary forces—involving a trout and a magpie, among other things—that unsettle the idea of the “stable” self. Eraser proposes a perspective in which the categorical distinctions between individual self, others, and non-human life slowly begin to dissolve. Other worlds of consciousness—of animals, plants, and organic matter—here embody a form of social organization free from the hierarchies of tradition and liberal progress.

Designed by Dan Solbach.

Produced on the occasion of the exhibition Thea Djordjadze: Se souvenir et témoigner at MAMC+, Saint-Priest-en-Jarez, 5 February–15 May, 2022.The publication unveils materials, archives and writings from the artist in the first part, while the second combines exhibition views from the Gropius Bau in Berlin and the Musée d’art moderne et contemporain de Saint-Étienne to apprehend her sense of installation and composition in two opposite spaces. An interview with the artist by MAMC+ director Aurélie Voltz and an essay by the art historian Thomas Boutoux.

American artist Peter Fend (born 1950) founded the Ocean Earth Construction and Development Corporation (“OCEAN EARTH”) in 1980, a legally incorporated successor to an artist venture initiated in 1979 to deliver art ideas and practices to real-world clients. The firm launched its worldwide business with a 1982 show at The Kitchen, NY called Art of the State.

Africa-Arctic Flyway: Physiocratic States is Fend’s first major publication since 1993’s Ocean Earth. It features projects and proposals located on the bird and insect flyways from Sub-Saharan Africa through Europe to the Arctic. Made over the past three decades, these projects take the form of extensive writing, his ubiquitous poetic “wordstacks,” and Fend’s signature cut-out maps, sketches, and installation views of sculptures.

Edited by Elisa R. Linn, Lennart Wolff. Designed by Dan Solbach.

A comprehensive record of the London-based art collective BANK’s notorious project from the late 1990s, a fierce critic of the language elements of the art market.

Between 1998 and 1999, BANK operated The BANK Fax-Bak Service. For the project, the group’s members, Simon Bedwell, John Russell and Milly Thompson proof-read and copy-edited more than 300 press releases published by galleries in London and New York. The procedure was simple: after adding their mocking corrections, the artists faxed the promotional texts back to the respective galleries. The BANK Fax-Bak Service exposes the art market’s (ongoing) sisyphean effort to legitimize itself through boasting, self-important and nonsensical language. Published in collaboration with Treize (Paris), this volume is a comprehensive record of BANK’s notorious project from the late 1990s.

Edited by Tenzing Barshee, Gallien Déjean, Dan Solbach. Designed by Dan Solbach.

Bottled humanism, colored neon contaminations, tattered flaps of skin, and limp penises bring humanist self-assurance crashing to the ground. What appears as poison or chemical devastation is in fact an appeal to understand metamorphosis as a state of being. Over a period of three decades, from the mid-1950s to the late 1980s, the Japanese artist Tetsumi Kudo created a consistent body of work that serves as a model for contemporary conceptual approaches of Posthumanism and the New Materialism. The catalogue brings together contributions by artists and theorists and documents Kudo’s comprehensive oeuvre in work and archive images as well as exhibition views from the retrospective at the Fridericianum (2016). Texts from Mike Kelley, Antje Krause-Wahl, Susanne Pfeffer & Reiko Tomii. Designed by Dan Solbach.