Edited by Clementine Edwards, Kris Dittel.

Spanning fiction and theory, the collection of texts expand the idea of an artist’s book by bringing words into conversation with an aesthetic proposition. Clementine Edwards’ artwork is the visual weft to the book’s written net. From colonial conquest to climate collapse, The Material Kinship Reader tells toxic and tender stories of interdependence among all things sentient and insentient.

Including contributions by Sara Ahmed, Hana Pera Aoake, Roland Barthes, Joannie Baumgärtner, Heather Davis, Kris Dittel, Clementine Edwards, Ama Josephine B. Johnstone, Robin Wall Kimmerer, Ursula K. Le Guin, Sophie Lewis, Steven Millhauser, Jena Myung, Aileen Moreton-Robinson, Michelle Murphy, Ada M. Patterson, Kim TallBear and Michelle Tea.

Diagrammatic Writing is a poetic demonstration of the capacity of format to produce meaning. The articulation of the codex, as a space of semantically generative relations, has rarely (if ever) been subject to so highly focused and detailed a study. The text and graphical presentation are fully integrated, co-dependent, and mutually self-reflexive.

This small book work should be of interest to writers, bibliographers, designers, conceptual artists, and anyone interested in the meta-language of diagrammatic thought in graphic form.

Johanna Drucker is a writer and book artist known for her work in experimental typography. She has published and lectured widely on topics related to the history of the book, contemporary art, graphic design, and digital aesthetics. She is the Breslauer Professor of Bibliographical Studies in the Information Studies Department at the University of California, Los Angeles.

Eva Olthof’s book takes as it’s starting point the American Memorial Library in Berlin (Amerika-Gedenkbibliothek), which opened in 1954, and two books, which were returned after 50 years, accompanied by a handwritten personal letter. The library was a gift from the American people to the population of West Berlin after enduring the Berlin Blockade, promoting the “illimitable freedom of the human mind”, as it reads in a quote on the library’s wall from US President Thomas.

The book brings together the charged political history of this library, and the recent events connected to the revelations of NSA files by Edward Snowden.

Contributions by Doreen Mende, Eva Olthof, Eben Moglen

The concept of ’dilution’—bringing together healthy and mentally ill people to overcome the formation of a polarised and hierarchical society—was developed during the Nieuw Dennendal experiment at a Dutch mental healthcare institute in the 1970s.

With this book we broaden the scope of what dilution could mean today, viewed through various historical, artistic, sociological and philosophical lenses. Could the historical concept of dilution be deployed as a contemporary artistic principle and be rediscovered as a means to achieve peaceful cohabitation? Does it have the potential to bridge and unify radical forms of otherness as part of an artistic process or perhaps life in general?

This publication comes out of the artistic research for the video work Homestead of Dilution, and is the result of an artist-in residency by Domenico Mangano & Marieke van Rooy at Het Vijfde Seizoen (located on the grounds of the mental health institute Altrecht in Den Dolder, The Netherlands), from January to May 2015.

Designed by Bardhi Haliti.

The Standard Book of Noun-Verb Exhibition Grammar is a partial compendium of the different modes of being that inhabit exhibitions. These different modes of being, often placed outside the realm of art objects proper, are described and activated here as crucial players in the world of contemporary art.

Maximizing a poetic resourcefulness, this book proposes the exhibition as an ecology full of things that are infinitely more dimensional than their ascribed functionality would lead us to believe, and creates a space where species meet, where ontological and epistemological registers clash, overlap, and contaminate each other, where the living and inert, organic and inorganic exchange properties, qualities, and performances.

With text contribution by Timotheus Vermeulen and drawings by Tim Hollander.

Permanent Recession: a Handbook on Art, Labour and Circumstance is an enquiry into the capitals and currencies of experimental, radical and artist-run initiatives in Australia.

Excavating a shared history of independent practice stretching back to the 1980s, this publication situates new research within a rich continuum of debate about the Australian artmaking context.

Part research, part advocacy document, part literature review, part reader, part position paper, Permanent Recession is a living contribution to current thought. As a handbook, it is a compilation of useful information in a compact and handy form.

Designed by Paul Mylecharane and Kim Mumm Hansen of Public Office.