Artist Gerry Bibby’s first publication is a work of fiction that expands on the use of text in his sculpture, performance, and image work. Evoking William Burroughs’s The Wild Boys and Robert Walser’s The Walk, these “language costumes” pay homage to an unruly tradition of radical and queer literary presences over the last century. Their captivating passages brim with wit, wry observation, and (occasional) disgust, offering viewers “ways out,” even if only while reading.

Commissioned by If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, The Drumhead follows a two-year collaboration with KUB Arena of the Kunsthaus Bregenz, The Showroom London, CCA Glasgow, and the Institute of Modern Art, Brisbane. The book immodestly distills these institutional encounters into a multipart narrative that delves into the lives and psyches of those in the service industry. Exhaustion and frustration besiege a set of characters and the architecture that barely contains them, all of which are cipher-like in their multiplicity (and duplicity). Designed by HIT.

Contributions by Liz Allan, Bik Van der Pol, Charles Esche, E. C. Feiss, Laymert Garcia dos Santos, Sarah Pierce, Eloise Sweetman, Paulo Tavares, Nato Thompson. Design by Anja Groten.

The School of Missing Studies started in 2003 as an initiative of artists and architects who recognized “the missing” as a matter of urgency. Investigating what culture(s) laid the foundations for the loss we are experiencing from modernization and how this loss can talk back to us as a potential site of learning, the School of Missing Studies is calling for a space to turn existing knowledge against itself to affect our capacity to see things otherwise, to trust that seeing, and to set one’s own pedagogical terms.

Sandberg Series n°1. Copublished with Sandberg Instituut, Amsterdam.

Edited by Aileen Burns, Charlotte Day, Krist Gruijthuijsen, Johan Lundh. Texts by Max Andrews and Mariana Cánepa Luna (Latitudes), Helen Hughes, Ana Teixeira Pinto.

This publication accompanies Australian multidisciplinary artist Nicholas Mangan’s survey exhibition Limits to Growth. The exhibition and book bring together four of Mangan’s most significant works of the past seven years, alongside a new commission. The works in the show tackle narratives from his own geographical region—Asia Pacific, in which his home country of Australia plays a colonial role—and weaves them into a bigger picture to take into account the global economy, resource extraction, and the ultimate power of the sun. Featuring an in-depth series of conversations between the artist and the Barcelona-based curatorial collective Latitudes, and essays by Ana Teixeira Pinto and Helen Hughes, this publication is richly illustrated with documentation of Mangan’s artworks and historical source material.

Copublished with the Institute of Modern Art, Brisbane; KW Institute for Contemporary Art, Berlin; and Monash University Museum of Art, Melbourne. Design by Žiga Testen.

With contributions by Tal Adler/Osama Zatar, Asma Agbarieh-Zahalka, Maayan Amir/Ruti Sela, Ariella Azoulay, Yael Bartana/Sebastian Cichocki, Raji Bathish, Itzhak Benyamini, Sari Hanafi, Sandi Hilal/Alessandro Petti/Eyal Weizman, Yazan Khalili, Ohad Meromi/Joshua Simon, Norma Musih, Ingo Niermann, Noam Yuran

Solution 196–213: United States of Palestine-Israel is an anthology of texts proposing a doable solution for the region. With contributors based in Ramallah and Tel Aviv-Jaffa, Beirut and Jerusalem, New York and Bethlehem, Nazareth and Warsaw, the book offers solutions that will make life better, and proposes ways to do it.

Unlike previous books in the Solution series, this book invited several writers from the region to suggest specific and doable solutions for today. This is mainly since it seems absurd to present a one-man master plan for Palestine-Israel. In many senses, such master plans (whether they take a colonial, Zionist or other meta-narrative lead) have been the mold of the problem in the region for at least the last 150 years.

The idea is therefore to rethink the different antagonisms that structure our ways of resistance and compliance: to rethink Semitism and 1948, rethink identity and territory, rethink resistance and memory, rethink democracy and state, rethink Zionism and decolonization, rethink refugee and property, rethink religion and solution.

Solution Series edited by Ingo Niermann. Designed by ZAK Group.

Solution 186–195: Dubai Democracy is the fifth book in the Solution series. Using Dubai as a sort of modernist blank slate for urban and social renewal, author Ingo Niermann confronts today’s most relevant cultural and technological developments with analytical elixirs that are as pertinent as they are unbelievable. Niermann’s Dubai will become as specialized as housing the global center for treating diabetes—called Sugar World—and as universal as offering non-confrontational public spaces where both a state of total advertising and compulsive kindness, or what he calls a “personal humaneness account,” co-exist.

Translation from the German by Gerrit Jackson. Design by ZAK Group.

The publication unfolds and draws an open-ended connection between individual and collective struggles and (emotional) conflicts intertwined with the colonial and decolonizing histories of Indonesia and the Netherlands by taking two film works by artist Wendelien van Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure. Both films take up rarely spoken fragments of the Dutch colonial past, particularly related to Indonesia, that are dormant but still affective in contemporary Dutch society. With the participation of different historical and contemporary stakeholders set against specific built environments, these two films are presented in the form of photo-novels. The film No False Echoes introduces one of the major historical sources cited in full in the publication, that is, a 1913 essay on national freedom by Soewardi Soeryaningrat, an Indonesian nationalist—or “revolutionary”—whose radical position manifested in the essay is widely known in Indonesia. The reprint of this essay is accompanied by two contemporary responses by Lizzy van Leeuwen and Nuraini Juliastuti, which in turn open another text written in 1935 by Soeryaningrat under a different name, Ki Hajar Dewantara, concerning national education in Indonesia. The latter text indicates the shift in political strategies, which, instead of fearless resistance, moves forward toward gradual building of counter-institutions of “upbringing” of new independent subjects. Designed by Julia Born.