Works 1965–Today stems from a retrospective held at the Grazer Kunstverein showcasing Josef Bauer’s experiments with language, colour, and their spatial contexts nearly forty years after his last exhibition in Graz. His practice combines sculpture, installation, painting, and performance to disturb our perception of words and colours as mere “carriers” of meaning. By removing their two-dimensional context, letters become objects that communicate directly with our bodies in an unfiltered and urgent language called “tactile poetry.”

Edited by Krist Gruijthuijsen. Designed by Marc Hollenstein.

This publication brings together extensive material from Hamlet, mise-en-scène presented at Portikus, along with recently restored as well as never-published stills, drawings, and writings by American filmmaker and artist Jack Smith, related to his film Hamlet in the Rented World (A Fragment) (1970–73).

Hamlet, mise-en-scène, directed by Mark von Schlegell, was an adaptation that retold Shakespeare’s most abused tragedy while channeling the ghost of Jack Smith. The two-night rendition of Hamlet was performed by members of Städelschule’s Pure Fiction seminar, presented here alongside a rare selection of works by Smith, both from private collections and from the Jack Smith Archive.

Texts By Sylvère Lotringer, Birte Löschenkohl, Sophie von Olfers, Laura Preston, Juliane Rebentisch, Mark von Schlegell.

With illustrations by Nairy Baghramian, Julian Göthe, Shahryar Nashat, Henrik Olesen, Danh Vo.

Dominic Eichler (born 1966 in Ballarat, Australia, lives and works in Berlin) is an art critic, artist, musician, curator, and co-founder of the contemporary art space Silberkuppe. He is also a contributing editor of Frieze. In 2005 he was awarded the AdKV Prize for Art Criticism. In 1999 he co-founded the pop band Dominique, which has released three albums.

Based on questions raised by the work of filmmaker Trinh T. Minh-ha, the second volume of the Wattis Institute’s annual reader includes new writing and art by Ranu Mukherjee, Kathy Zarur, Shylah Hamilton, Astria Suparak, and Tamara Suarez Porras, as well as written and visual contributions by Trinh T. Minh-ha, Mei-mei Berssenbrugge, Sky Hopinka, Christina Sharpe, Christine Wang, Camille Rankine, Dionne Brand, Renee Gladman, Theresa Hak Kyung Cha, Kameelah Janan Rasheed, and Steffani Jemison, among others. Designed by Scott Ponik.

The exhibition Disproof Does Not Equal Disbelief by the Berlin-based artist Michael Stevenson (born in 1964, NZ) presents an unconventional invocation of his practice over the past 35 years. Since the 1980s Stevenson has developed an artistic language that operates at the juncture of economy, technology, education, and faith, exploring the infrastructural systems that condition these disciplines and their entanglement. The exhibition marks Stevenson’s first institutional solo presentation in Berlin and presents a focused revision of his work, in which early paintings are brought into dialogue with more recent expansive installation.

Designed by Will Holder.

Spine resembles a catalogue raisonné of R.H. Quaytman’s work produced since 2001, the year the artist began organizing paintings in what are called “Chapters.” Conceived and written by Quaytman, this more than 400-page volume presents a full decade’s output, from “The Sun, Chapter 1” to “Spine, Chapter 20,” the latest series which revisits motifs elaborated in the preceding nineteen chapters. A text articulating the artist’s systematic pictorial practice, executed on Golden Section wood panels, is printed on the book’s unfolding dust jacket.