Accompanying the first in-depth survey of her work in the UK, Linderism offers four new perspectives on Linder’s wide-ranging practice by James Boaden, Alyce Mahon, Amy Tobin and Sarah Victoria Turner. The essays address Linder’s early photomontages forged in the crucible of punk and post-punk culture in the North-West of England, as well as more recent shifts in her practice encompassing spirituality, the occult, and the surreal. Linderism is fully illustrated including extensive documentation of working drawings, and research images—the materials that have long formed the basis of her practice—as well as documentation of works included in the survey exhibition.

Designed by Julie Peeters.

Produced on the occasion of Motion, a major exhibition by Dutch artist, graphic designer, and educator Karel Martens at Kunstverein München. Co-edited by Martens and Julie Peeters, the bulk of the content for this book comes from the video Not for Resale—a sequence of photographs from Martens’ studio wall in Hoog Keppel in 2000. The videos Lost & Found (2004), and Tol (2008) are also included in the book, as well as a transcription of a conversation between Martens and Kunstverein director Chris Fitzpatrick.

Designed by Julie Peeters.

Elena Narbutaitė enjoys the nature of discovery. By offering the unexpected, she hopes to create social situations in which the audience can collectively experience surprise or confusion. ‘Alex’ is a lamp, a light programme, and an exhibition by Narbutaitė that began during a 2016 New Year’s Eve party in her Vilnius apartment. After bringing in the new year, the lamp travelled to Kunstverein München, where it was installed above a window at the foyer entrance, pointed directly into the eyes of visitors. This book marks the year-long event using text excerpted from the film ‘Exotica’ by Atom Egoyan, as well as text interventions by Bernardo José de Souza and Chris Fitzpatrick.

Designed by Julie Peeters.

Being at once a school and at the same time not a school, a workspace, the WT tends to want to comment on its own distinctive form of academic pursuit (by way of, amongst other outlets, these School Journals). And during this sometimes faltering, sometimes successful quest, I’ve often thought about Jacques Rancière’s Ignorant Schoolmaster. Five Lessons in Intellectual Emancipation, not least because it outlines an “intellectual adventure” whereby any hierarchy amongst the students and between them and their tutor dissolves.—Maxine Kopsa, ‘Editorial Considerations’ (excerpt)

Including the work of Guy de Cointet, Ian Hamilton Finlay, Scott Ponik, David Lieske, Stephen Willats, Na Kim, Morgan Fisher, Karl Nawrot, Boy Vereecken, Cecilia Costa, Joris Kritis, Julie Peeters.

SSS: How to imitate the sound of the shore using two hands and a carpet is, at first glance, exactly what it claims to be: an in-depth manual for staging a private (or public) performance, in which one uses both hands and a carpet to imitate the sounds of water making contact with land. Istanbul-based artist Cevdet Erek’s book includes diagrams and photographs, which illustrate possible methods for producing this effect, while also addressing theoretical and methodological issues related to the representation of nature.

SSS is the second book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional. Design by Julie Peeters

James R. Murphy, a math teacher in La Guardia, New York, regarded mathematics as the most powerful and manipulable abstract language available to humans. To acquaint students who don’t “like” math with abstract and systematical thinking, he put a piece of string in their hands and taught them to make string figures.

How to spell the fight follows a thread that has been running through our fingers from centuries past till the present day, morphing from the tangible string figures that join our hands in childhood to the more elusive computational algorithms that engage our fingers today. Following this line of inquiry through various twists and turns, a conversation about collective agency emerges with the aim of rethinking current paradigms of cognition, education, and power.

Natascha Sadr Haghighian is an artist living in Berlin. Her research-based practice encompasses a variety of forms and formats, among them video, performance, installations, text, and sound. She tries to learn how to make string figures.

This is the fifth book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional.