Artist Avigail Moss’s pamphlet is the fourth in The Social Life of the Book series, Paraguay Press’s collection of commissioned texts dealing with books, and how they engage with the circulation of ideas and the agency of social situations. Moss examines Marianne Wex’s Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures, a book of photographs tied to second-wave feminism in Germany during the 1970s and the larger international movement at the time.

Designed by Will Holder.

French artist Joëlle de la Casinière, Portuguese artist Ana Jotta and Flemish artist Anne Mie Van Kerckhoven have in common to pay no fealty to trends of contemporary art. Moreover, they fought unwaveringly throughout their respective careers the need to see their work being given an “official line”. Instead, they stood aside, went underground or remained indifferent to the twists and turns of the art market and institutions. They sometimes created surrogate characters, hid, or playfully modified their names to react to the branding of identity in the artworld, and to the imposed marginalization that they had to cope with as women artists, as did artists living in peripheral geographies. In a way, paradoxically, being marginalized encouraged a calculated versatility of media and styles, and the invention of an idiosyncratic vocabulary, while total freedom remained their one and only rule.

Published on the occasion of the eponymous exhibition at Malmö Konsthall in 2019. More information on the exhibition can be found here.

Soleil Politique is a book conceived by curator Pierre-Bal Blanc, in dialogue with graphic designers Vier5 and Paraguay, the book dwells on the exhibition that he organized at Museion Bolzano in 2014. In Soleil Politique, Pierre Bal-Blanc examinines the exhibition starting points in the readings of a group of thinkers and artists, its methodology—inspired by the musical compositions of Cornelius Cardew.

Contributions by Robert Breer, K.P. Brehmer, Marcel Broodthaers, Giorgio De Chirico, Josef Dabernig, Félix González-Torres, Dan Graham, Sanja Ivekovic, Deimantas Narkevičius, Roman Ondák, Christodoulos Panayiotou, Pratchaya Phinthong, Carlo Scarpa, Allan Sekula, Sturtevant, Terre Thaemlitz, Philippe Thomas, Clemens von Wedemeyer, Lois Weinberger, Lawrence Weiner and others.

Produced in 2010 on the occasion of three large solo exhibitions organised at the Centre international d’art et du paysage de Vassivière (France); the Kunsthalle Bern (Switzerland) and the Parc Saint Léger Centre d’art contemporain (France), I Can’t See stands as the first comprehensive monograph on the work developed by American artist Oscar Tuazon. It reads as a full-page visual essay with a phantom narrative spreading over 250 pages that was composed by the artist together with graphic designer Pierre-François Letué. With texts from Ariana Reines, Matthew Stadler, Cedar Sigo, Karl Holmqvist, Thomas Boutoux, Carissa Rodriguez, Eileen Myles, David Lewis, Oscar Tuazon, Sandra, Chiara Parisi, Philippe Pirotte

A score of performative gestures, drawn from the conceptual art and body art scenes from Central and Eastern Europe in the 1970s and 1980s.

Published on the occasion of the exhibition Exposition collective pour un corps individuel – La partition privée at gb agency, Paris, from the October 12 to November 5, 2019, and the Playground Festival, Leuven, from November 14–17, 2019.

With works by Milan Adamčiak, Geta Brătescu, Anna Daučíková, Valie Export, Stano Filko, Tomislav Gotovac, Sanja Iveković, Anna Jermolaewa, Július Koller, Jiří Kovanda, Katalin Ladik, Simon Leung, Karel Miler, Paul Neagu, Manuel Pelmuş, Petr Štembera, Mladen Stilinović, Sven Stilinović, Slaven Tolj, Goran Trbuljak.

More information on the project can be found here.

Designed by Vier5.

Acknowledged today as one of the most influential figures of post-war Yugoslavian art, mangelos is the pseudonym that the Yugoslavian art critic and historian Dimitrije Bašičević (1921–1987) used for his artistic activity, a parallel career he would only make public in the 1970s. Although he never considered himself an artist, he never stopped producing paintings, blackboards on which he inscribed poems, stories, quotations and philosophical manifestos, all inspired by his historical pessimism and the idea that language is infected by ideologies.

Edited by François Piron. Designed by Laure Giletti.