Every Day is A New Day: Calendar 2023

Eshkol and Wachmann focused dance on its basic element: the movement of the human body. They treated the different parts of the body as separate instruments, similar to the musical instruments of an orchestra–each with its own rules for the movements to be performed. This new edition of the 1958 publication is supplemented by contributions from Eshkol’s companions and further archive material, which contextualizes and supplements the history of the 'EWMN’s‘ origins and embeds it in contemporary discourses on dance and movement. 

The publication is published in the context of the performance 'Pause: The Noa Eshkol Chamber Dance Group‘ at KW Institute for Contemporary Art (August 2023), as well as the exhibition 'Noa Eshkol: No Time to Dance‘ at the Georg Kolbe Museum (15 March–25 August 2024). The new edition was developed together with the 'Noa Eshkol Foundation for Movement Notation‘.

Ian Burn has been described as many things: an activist, a trade-unionist, a journalist, an art critic, a curator and an art historian—or, as he once described himself in a moment of self-deprecating alienation, ‘an ex-conceptual artist’. Born in Geelong in 1939, Burn studied painting in Melbourne and went on to live and work in London and New York. Burn moved back to Australia in 1977 and passed away in 1993 at the age of 53. Burn sought to grapple with how art history intersects and engages with contemporary art and political debate, arguing for a decentred view of the world. 

His legacy is international and can be seen in retrospective exhibitions as recent as 2022, and his work remains a key touchstone in art history. Edited by Burn’s friend, frequent collaborator and eminent art historian, Dr Ann Stephen, this volume brings together 49 pieces of Burn’s own agile and expansive writings alongside a vast collection of his artworks. The collection concludes with reflections on Burn’s life and work from prominent figures and past collaborators in the form of memorial lectures.

Ian Burn: COLLECTED WRITINGS 1966–1993 is edited by Ann Stephen and designed by Robert Milne, with contributions by Art & Language, Adrian Piper, Paul Wood, Allan Sekula, and Mel Ramsden.

A collection of interrelated short stories by Lucy McKenzie and Alan Michael. First published in private limited edition, it was intended as a cheap holiday read to titillate and entertain summer visitors to the Mediterranean island of Stromboli, and as a piece of site-specific work; the location of the action and the place in which it is read being the same.

The visual art subsequently generated by Unlawful Assembly includes work by Josephine Pryde, with whom the artists collaborated to produce this second edition’s cover image.

“in the coherence, we weep is both an artist book and an exhibition. The project is about the critical potential of incoherencies. It is an attempt to map methodology across media, while welcoming glitches that allow for moments of critical self-reflection and knowledge production. Developed in parallel, the book and exhibition critically reflect on each other’s approaches. It looks at strategies for how text can be alive and vibrant across various architectural contexts as well as those used in the artist’s family archive, particularly annotation, redaction, indexing, blurring, and learning through reading and writing.” - KW Institute for Contemporary Art

“Multilayering was in that sense an important aspect, which got translated with the material and the design by choosing papers with differents gradients of transparency, as well as interfering and overlapping text layouts. We also designed the cover with a blue scratch off drawing on top of another artwork, so every book might change a bit over time depending on the use. This reflects the artist‘s idea of including the audience and an ever changing oeuvre, where the relation between pieces become important too.” - Studio Pandan

Texts by Dr. Christina Landbrecht, Krist Gruijthuijsen, Sofie Krogh Christensen, Chang Yuchen, Ladi'Sasha Jones

This artist book is published on the occasion of Kameelah Janan Rasheed’s Schering Stiftung Award for Artistic Research 2022 solo exhibition at KW Institute for Contemporary Art (2023).

Past Words is three books in one: a collection of previously published texts and two exhibition-like experiments: A Year with Prem Krishnamurthy at the KW Institute for Contemporary Art, Berlin, and Endless Exhibition at the Kunsthal Gent. These parts are iinterconnected but distinct, not least because each is designed by a different designer—Ann Richter, David Knowles, Mark Foss & Valentijn Goethals. Together, they chart the past—and future—of a peripatetic performance of a practice, taking stock of a fifteen-year period through writing, a medium that 1s both primary and secondary. This writing is about design, about curating, about exhibition-making, and about how all three are themselves forms of storytelling. They allow us to draft narratives that stand just to the side of accepted realities, to sneak wild ideas into the world with the hope they may—with time—turn into facts. 

Based in Berlin and New York, designer and curator Prem Krishnamurthy (born 1977) is head of the artist group Department of Transformation and of the design consultancy Wkshps. In 2015 he was the recipient of the Cooper Hewitt’s National Design Award for Communication essDesign. As both creator and curator, Krishnamurthy aims to discover “how art & design can be agents of transformation for individuals, communities and institutions.” 

With an introduction by Krist Gruijthuijsen.

‘Provisional School for Nothing—exercise of imagination’ aims to explore forms of parallel education such as self-learning, self-organized schools, unschooling, inner schools, and more. This book is a choir of around 30 invited guests (artists, choreographers, dancers, graphic designers, writers, thinkers and so on). We use the word ‘choir’ since we decided to explore the concept of authorship. The book functions like a language score —comprising words, fragments, and loose ideas that develop throughout a series of conversations we’ve had with our guests via Zoom during the pandemic.

with Marco Balesteros Sara Vaz Alexandru Balgiu Ana Jotta Bráulio Amado Cracked Bolos Igor Dobricic Isabel Carvalho Ivan Martinez João Fiadeiro João dos Santos Martins] Karel Martens Maki Suzuki & Lppl Marco Bene Maria Duarte Marion Cachon Miguel Bonneville Nelson Guerreiro Olivier Lebrun Olga Mesa Francisco Ruiz de Infante Paul Elliman Paul Faure Pedro Barateiro Pedro Rogado Ricardo Nicolau Sara & André Sara Graça T.I.M.E. Tomás Cunha Ferreira Von Calhau! the missing person a man in silence

designed by Sara Vaz Marco Balesteros 

This artist’s publication contains a sequence of unique letterpress monoprints, made by Dutch graphic designer Karel Martens between 2014 and 2022. The prints, which are both highly geometric and brightly coloured, are reproduced in the book at their actual size. Textual elements accent the various abstract shapes and repetitions on almost every page. ‘Small Prints’ is available in two different cover versions, which itself is the result of a printing experiment. By printing the contents of the book in three layers on a single print sheet, which was then cut and folded, variations in the cover emerged.

A lost gem of permutational conceptualism from a key figure in artist's book culture, available again

Known internationally as one of Mexico's most important conceptual artists, Ulises Carrión (1941-89) played a decisive role in defining and conceptualizing the genre of the artists' book through his manifesto, The New Art of Making Books (1975), which he wrote soon after the 1972 publication of SONNET(S) and his move from Mexico City to Amsterdam, where he opened the legendary bookshop gallery, Other Books and So, the first space dedicated exclusively to artists' publications and an important precursor to such artists' book hubs as Printed Matter.

One of Carrión's earliest bookworks, SONNET(S) represents a landmark shift in the artist's output from poetry to artists' books. Here, Carrión takes a single poem by Dante Gabriel Rossetti through 50 typographic and procedural permutations. This republication is supplemented by new essays on Carrión's bookworks by contemporary artists, writers, and scholars from Mexico, Europe and the US. 

Published March 2021

Meriem Bennani's Life on the CAPS is the final chapter in her film trilogy of the same name. Set in a supernatural, dystopian future surrounding a fictional island in the middle of the Atlantic Ocean, it is rooted in Bennani’s research and reflections on the histories of island societies, biotechnology, and vernacular music. Layering live-action footage and computer-generated animation, Bennani intuitively adapts editing techniques that evoke documentary film, science fiction, phone footage, music videos, and reality TV. Her one-person exhibition at the Renaissance Society marked the debut of this personal, electric yet melancholic consideration of what it is to live in a state of limbo, and this accompanying book captures the film through a combination of still images and selections from a transcript of the film.

This volume includes essays by Emily LaBarge and Elvia Wilk and transcripts of conversations between Meriem Bennani and: Omar Berrada; Fatima Al Quadiri, Negar Azimi, and Tiffany Malakooti; Amal Benzekri; and Aziz Bouyabrine.

Slant is a mail art project and a publishing house. It invites artists, designers, writers and poets to express themselves through a common theme every two weeks. it has poetry as its beacon of reflection, keeping in mind that sometimes we must tell the truth slant in order to see our reality depicted.

First edition, approx. 240pp. 4-colors riso printed.
20 x 25,5cm, 200 copies. Coptic hand-made binding.
Softcover printed wraps. French and English texts.

This monograph covers more than fifty years of creation by Art & Language, whose artists are at the origin of conceptual art. Through unpublished texts by Matthew Jesse Jackson and Art & Language, a transcript of their opera libretto Victorine, and an interview with the artist collective, this publication questions their journey, and more broadly, the relationship between contemporary art and conceptual art.

The permanent collection of the Château de Montsoreau – Museum of Contemporary Art has grown to include 800 works from Art & Language. To celebrate this event, the museum produced a major exhibition and a publication titled Reality (Dark) Fragments (Light). The monograph and exhibition look back at 50 years of creation by these critical, provocative, subversive, punk art collective. They question the main issues involved in Art & Language's work: conversation as an artwork, description, transdiciplinarity, crisis in the relationship between the artist, the museum and the art gallery.

Edited by Marie-Caroline Chaudruc.
Foreword by Marie-Caroline Chaudruc.
Text by Matthew Jesse Jackson, interview with Art & Language by Victorine Meurent.

Two Revolutions a Day marks the first in-depth publication devoted to the work of Sophie Nys, whose artistic practice over the past two decades has unfolded through an enterprising interplay of research, observation, and formal experimentation. Moving between exhibition-making, design, and subtle acts of re-framing, Nys has developed an oeuvre that resists fixed categories while remaining acutely attentive to the structures – historical, linguistic, psychological – that shape how meaning is produced and circulated.

Rather than presenting a linear retrospective, Two Revolutions a Day is organised as an extended conversation between Nys and critic Christophe Van Gerrewey that mirrors the artist’s own methods. Together, they revisit key works and exhibitions from the early 2000s to today, tracing recurring motifs and questions while allowing contradictions and shifts in perspective to remain visible.

Throughout the book, Nys’s fascination with systems of power and authority intersects with a sensitivity to intimacy, subjectivity, and the everyday, engaging with feminist perspectives that examine the politics of representation. Historical figures, marginal anecdotes, and overlooked documents appear alongside reflections on resistance, collaboration, design, and the conditions under which artworks –and the social roles they inhabit – come into being. Language, in particular, emerges as both material and problem: a tool that promises clarity while constantly slipping, misfiring, or revealing its own limits.