I am not done yet

The Trial is an extensive publication chronicling the decade-plus-long evolution of one of Rossella Biscotti's seminal works, focusing on the trials of members of the revolutionary left-wing movement Autonomia Operaia in the early 1980s, an emblematic judicial drama of Italy's Years of Lead.

The core of the book is the English transcription of a six-hour audio piece, originally composed from hundreds of hours of the trial's archival recordings broadcast by Radio Radicale. Edited like a theatrical script, The Trial becomes a polyphonic narrative that foregrounds the political voices of defendants in opposition to the structure and language of the legal machine: prosecutors, judges, lawyers. The transcript is accompanied by critical texts by Michael Hardt, Daniel Blanga Gubbay, and Giovanna Zapperi, as well as a conversation between the artist and philosopher Antonio Negri, one of the trial's key defendants. It investigates how political memory is carried, translated, and embodied across time.

Featuring visual documentation and multilingual excerpts from performances staged across various institutions and countries, this publication traces the work's ongoing reactivation through translation, collaboration, and context-specific interventions.

This publication aims to provide a critical and profound reading of Alice Neel's humanism, constructing a journey through her artistic and personal life. The book includes texts by academics and artists, enriched by an extensive number of illustrations, archival photographs and documents.

Alice Neel: I Am the Century accompanies the first major retrospective in Italy dedicated to the US artist Alice Neel (1900–1984), presented by Pinacoteca Agnelli, Turin. Conceived as both a critical and a narrative journey, this publication offers an in-depth exploration of Neel's artistic and personal life, expanding on the exhibition through a rich selection of essays and visual material. It brings together sixty works reproduced in dialogue with archival documents, highlighting Neel's role as a pioneer and one of the most important painters of the twentieth century. Contributions by curators, scholars, and artists—including Kelly Richman-Abdou, Jennifer Higgie, Mira Schor, and Annie Sprinkle—provide multiple perspectives on Neel's practice, situating her radical approach to portraiture within broader artistic, social, and political contexts.

Merging realism with surrealism and empathy with unflinching clarity, Neel captured the psychological and emotional depth of her sitters. The publication emphasizes her capacity to chronicle life's stages and relationships—childhood and adulthood, sexuality and intimacy, community and political consciousness—through works that continue to resonate with contemporary audiences. Positioning Neel as both artist and witness, I Am the Century underscores her enduring humanism and her singular vision of the "human comedy," offering readers a comprehensive entry point into a body of work that is still influencing new generations of artists.

Born in 1900 in Merion Square, Pennsylvania, Alice Neel lived in Philadelphia and Havana before settling in New York (where she lived until her death in 1984), becoming part of the social milieu of the Harlem neighbourhood. She painted figuratively throughout her life, often using the people "around her" as subjects, models and muses. For Neel, this meant portraying both the residents of Harlem as well as  strangers, friends and intellectuals who often shared her proximity to the Communist Party. A figurative painter in an era dominated by Abstract Expressionism, Neel developed remarkable and radical new ways of representing the human body in painting, such as with her celebrated nudes of pregnant women.. The introspective aspect of Neel's work, her ability to capture the essence of her subjects and their souls, has made her today one of the most appreciated and respected artists of the twentieth century.

Neel's work has been the subject of retrospectives at the Metropolitan Museum of Art in New York, the Guggenheim Museum Bilbao and the Centre Pompidou in Paris. It forms part of the permanent collections of institutions such as the Art Institute of Chicago; the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; the Metropolitan Museum of Art; Moderna Museet in Stockholm; the Museum of Contemporary Art in Los Angeles; the Museum of Fine Arts in Houston; the Museum of Modern Art in New York; the National Gallery of Art in Washington, D.C.; the Philadelphia Museum of Art; Tate Modern in London; the Walker Art Center in Minneapolis, Minnesota; and the Whitney Museum of American Art in New York.

Edited by Sarah Cosulich and Pietro Rigolo.
Texts by Sarah Cosulich, Jennifer Higgie, Kelly Richman-Abdou, Pietro Rigolo, Mira Schor, Annie Sprinkle.

Ding Dong Bell is an invitation to cross the threshold into a world that belongs not only to the imagination, but also to the concrete possibility of a different way of inhabiting reality. In this space, details weave together landscapes and reveal characters, hinting at unexpected encounters in a continuous search for shapes and textures, in a chromatic immersion and a sequence of perspectives on a syncretic and archaic world, on an alchemical pictorial practice, where the complex figurative iconography of living beings and cosmic constellations is progressively enriched with tonal stratifications and semantic density.

The collection of paintings outlines universes in which plants, animals, human beings, and subtle presences coexist outside any pre-established hierarchy. The forms cross each other lymphatically and transform without ever being fully accomplished, metamorphically generating a visual ecosystem based on the continuous exchange of substances and the visceral mixture of matter. In this fluid chorus, everything is constantly redefined in the process of becoming, yet without losing its identity. What emerges is a symbolic horizon that becomes a universal hope: an invitation to living beings, witnesses of contemporaneity, to cultivate mutual respect and nurture a providential alliance, where the different planes of existence vibrate in resonance.

The titles of the works, inspired by traditional English nursery rhymes, and the accompanying texts take the form of ancient and surreal chants, capable of evoking both the childhood of the world and its possible future. Their language, closer to illuminated manuscripts than to linear narration, constructs a vivid imaginary world in which whirlwinds and impulses evoke the idea of original totality: at the end of this long succession of worlds, everything seems to tend towards a single, shared substance of being.

Barbara Cammarata (born in 1977) lives and works in Catania (Sicily).

Fugue is published on the occasion of the eponymous duo exhibition by artists Aaron Amar Bhamra and Céline Mathieu, presented at Jester in Genk, Belgium. The title, derived from the Latin fuga (flight), evokes both its musical and psychological meanings: a contrapuntal compositional technique and a state of dissociation. These dual connotations—aural and mental—resonate throughout the exhibition and this accompanying publication.

Céline Mathieu's work moves between the sensory and the conceptual, integrating multiple media to explore the circulation of thoughts and materials in relation to specific sites. Aaron Amar Bhamra's practice draws on recurring forms and materials to construct evolving personal and social archives, often reactivating exhibition spaces by engaging with their historical contexts.

In addition to documenting the exhibition, the publication features an introduction by Jester's artistic director Koi Persyn, a visual score of a sound composition by Charlie Usher, written contributions by Céline Mathieu, curator Eloise Sweetman, and researcher Johanna Schindler, as well as a series of analog photographs by Aaron Amar Bhamra.

Contributions by Koi Persyn, Céline Mathieu, Charlie Usher, Eloise Sweetman, Johanna Schindler, Aaron Amar Bhamra.

Austrian artist Aaron Amar Bhamra (born 1992) often procures exhibition spaces that subtly expose their systematics and physical experience by incorporating imprints reminiscent of other spaces or past exhibitions. He occasionally uses recurring forms and materials, weaving a site of shifting personal and social archives.

Céline Mathieu (born 1989) is a Belgian artist and writer. Her practice is often site and condition specific, using sound, scent, sculpture, performance, text and different materials in performative installations. The work is both sensory and conceptual. Her work looks into the circulation of thoughts and materials. Material and economic cycles merge with hyper-personal items, resulting in fluid work that cannot quite be pinned down.

The first monograph dedicated to the Neapolitan feminist and pacifist artists' collective: unpublished documents, images, photographs, and manifestos are accompanied by new creative, political, and historical contributions, evoking the collective joy of Le Nemesiache's history so as to bring a sense of myth back into the world, rewriting and embodying it anew.

Nemesiache is an informal feminist group co-founded in Naples in 1970 by the multidisciplinary and visionary artist and writer Lina Mangiacapre (1946-2002). The collective, which included up to twelve women (centered around Claudia Aglione, Fausta Base, Silvana Campese, Consuelo Campone, Conni Capobianco, Bruna Felletti, Anna Grieco, and Teresa Mangiacapre), fostered an experimental artistic practice and a way of being in the world rooted in feminism, mythology, folktales, sci-fi, and radical imagination, while also introducing "transfeminism" in the early '80s. 

Throughout their long-lasting practice spanning several decades, the group retrieved an androgynous mythosophy to transcend art as mere representation and challenge the feminine as a modern identity category. Their distinct transformative approach within both Italian and Western feminist art history led not only to the emergence of an interdisciplinary practice—encompassing film, performance, writing, rituals, poetry, music, collage, costumes, protests, and conferences—but also the creation of a new political language, grounded in cosmological creativity and justice through mythological rituals.

Edited by Sonia D'Alto.
Texts by Chiara Bottici, Federica Bueti, Cairo Clarke, Sonia D'Alto, Giulia Damiani, Giusi Palomba, Imma Tralli & Roberto Pontecorvo, Elvira Vannini, Giovanna Zapperi, Arnisa Zeqo.

Working at the nexus of performance, art writing, and fiction, Tyler Coburn creates monologues that explore how the “I” is marked in speech. His myriad topics—alternate history, legal personhood, digital labor, and resonant frequency, to name a few—defy straightforward modes of presentation, often insisting on site-specificity and social intimacy at the expense of conventional documentation. 

Some Monologues collects, for the first time, the scripts of Coburn’s work from the past fifteen years, many of which have not previously been published. Accompanying them are texts by eleven artists, writers, curators, and scholars who experienced these performances firsthand, collaborated in their making, conversed with the artist about them, or share an interest in the subjects they engage. Written in theoretical, poetic, and autobiographical registers, these contributions offer new perspectives on the monologue as an expansive and relational form.

Introduction by Elvia Wilk. Contributions by Yu Araki, A.E. Benenson, Mashinka Firunts Hakopian, Sven Lütticken, Kameelah Janan Rasheed, Spyros Papapetros, Camille Richert, Théo Robine-Langlois, Ian Wallace, and Michelle Wun Ting Wong.

Tyler’s scripts refuse to fix an authorial voice; instead, they make the conditions of authorship itself their subject. Blurring the boundaries between fiction and document, the human and the bureaucratic, the self and its doubles, his work thinks through systems from the inside, often using language as both architecture and trap. In their precision and porousness, I recognize a shared pursuit: how to locate agency within constraint, and how to turn the administrative or the technological into a site of intimacy. — Jill Magid

In Tyler Coburn’s Some Monologues, a binary that remains constitutive for the ideological continuity of modern life, in all its colonial and capital forms, is undone: digital vs. physical. In troubling that chasm, Coburn plays out the repercussions of these ideologies of anthropomorphic naturalism, guiding us through their resonances, doubles, codings, and relays. But he also renders himself as the relay of these transferences, in the process expanding art’s premodern calling: to exist as an invocation. Reification suddenly appears as what is situated between embodiment and disembodiment, with both potentially destabilized. Some Monologues, the book, is this destabilization’s ideal format: as much documentation, an echo, of Coburn’s works through their scripts, as it is an instruction manual for denaturalizing our sense/s. — Kerstin Stakemeier

Tyler Coburn is an artist, writer, and professor based in New York. He received a 2024 Andy Warhol Foundation Arts Writers Grant, and his writing has appeared in ArtReview, BOMB, C Magazine, Dis, e-flux journal, frieze, LEAP, Metropolis M, Mousse, and Rhizome. Coburn is the author of four books: I’m that angel (self-published, 2012), Robots Building Robots (CCA Glasgow, 2013), Richard Roe (Sternberg, 2019), and Solitary (Sternberg and Art Sonje Center, 2022). He has presented artwork at such venues as Centre Pompidou, Paris; Bergen Kunsthall; Hayward Gallery, London; Para Site, Hong Kong; and Kunstverein Munich. 

With her debut chapbook, award-winning author and curator Legacy Russell returns to poetry with her GAY POMPEII, a collection of lyric poems that begin at the end of the world.

Rising out of Russell's 2022-2023 Digital Fellowship for Pompeii Commitment. Archaeological Matters, the first long-term, contemporary art programme established by the Archaeological Park of Pompeii, the author and curator explores ash, filth, dirt, and decay, intersectional with the fetishistic mythos of Pompeii and its destruction in 79 CE by the eruption of Mount Vesuvius. Pompeii today is a UNESCO World Heritage Site that receives over two million visitors per year to view its archeological excavation. Russell puts the mass voyeurism, sensation, extraction, and loss of Pompeii—a devastating moment frozen in time—to work. In GAY POMPEII, the site becomes a device with which Russell unspools birth, death, genocide, visual culture, and space-time. The title of this compilation underscores the essence and demand of capitalism: to be carefree in the face of looming extinction. Russell's GAY POMPEII is a selfie taken at the edge of catastrophe and a polyphonic elegy.

Legacy Russell (born 1986 in New York City) is a curator and writer. She is the Executive Director & Chief Curator of the experimental arts institution The Kitchen. Formerly she was the Associate Curator of Exhibitions at The Studio Museum in Harlem. Russell holds an MRes with Distinction in Art History from Goldsmiths, University of London with a focus in Visual Culture. Her academic, curatorial, and creative work focuses on gender, performance, digital selfdom, internet idolatry, and new media ritual. Russell's written work, interviews, and essays have been published internationally.

“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).

Across objects, writing, sound and choreography, British artist Cally Spooner addresses the manners in which specific technological and financial conditions shape and organize life. This volume surveys her artistic output of the last five years.

Sweat Shame Etc. includes a lecture by Spooner along newly commissioned essays by Laura McLean Ferris, Pierre Bal-Blanc, and Lucrezia Calabrò Visconti. A 2018 series of drawings on paper, from which the monograph takes its name, features hastily sketched figures that take care of their bodies while shedding clothes, socks, limbs, and torsos. Though their heads are scratched out, they remain unexpectedly determined and unperturbed.
Published following the eponymous exhibition at the Swiss Institute, New York, in 2018-2019.

Cally Spooner (born 1983 in Ascot, UK, lives and works in London and Turin) is an artist who exhibits performances that unfold across media—on film, in text, as objects, through sound, and as illustrated in drawings.

Edited by Alison Coplan and Laura McLean-Ferris.
Texts by Pierre Bal-Blanc, Lucrezia Calabrò Visconti, Laura McLean-Ferris, Cally Spooner.

Un essai consacré au travail de la chorégraphe et danseuse Jennifer Lacey et de la plasticienne et scénographe Nadia Lauro, qui rend compte de l'univers visuel des deux artistes au travers de nombreuses illustrations.

Dans cet essai, Alexandra Baudelot s'attache à saisir l'ensemble des œuvres co-écrites par la chorégraphe Jennifer Lacey et la plasticienne et scénographe Nadia Lauro, en observant de quelle manière elles s'architecturent les unes aux autres pour constituer des extensions inédites d'une forme artistique vers une autre.

Elle les observe à la manière de parcours envisagés comme des supports d'expériences cherchant à déborder constamment ses propres cadres de représentation. Ceci afin de saisir les politiques mises en jeu pour penser le corps, sa place dans un environnement fictif ou quotidien, son impact dans les enjeux chorégraphiques contemporains et ses liens avec notre époque.

L'espace de cet essai se prête également à l'univers visuel des deux artistes qui se livrent ici à un jeu de construction entre l'exploration d'images d'archive, de déclinaisons de projets inédits et périphériques aux pièces publiques, d'illustrations, et d'exposition d'un portfolio de dessins.

Originaire de New York, la chorégraphe et danseuse Jennifer Lacey est établie à Paris. Depuis 1991, elle a développé son propre travail chorégraphique qui a été présenté aux États-Unis (P.S. 122, The Kitchen) et en Europe (Klapstuk Festival, Vienna Festival, Danças na Cidade, Biennale d'art contemporain de Lyon, Big Torino). Depuis qu'elle réside en France, elle a créé et présenté plusieurs œuvres : $Shot (Lacey / Lauro / Parkins / Cornell), Châteaux of France no. 2 et no. 3, un projet conçu en collaboration avec Nadia Lauro, et Prodwhee!, une série de courts modules. En 2002, elle a été accueillie en résidence aux Laboratoires d'Aubervilliers. Jennifer Lacey a collaboré à différents projets avec de nombreux artistes : Loïc Touzé, Boris Charmatz, Emmanuelle Huynh, Benoît Lachambre, Catherine Contour et Latifa Laâbissi. Elle développe actuellement ses créations au sein de l'association Megagloss.

Nadia Lauro est artiste visuelle et scénographe basée à Paris. Elle développe son travail dans divers contextes et conçoit des environnements, des installations visuelles et des costumes pour différents projets chorégraphiques. Outre Jennifer Lacey, elle collabore notamment avec les chorégraphes Ami Garmon, Vera Montero, Benoît Lachambre, Frans Poelstra, Barbara Kraus, figures de la danse contemporaine en Europe. En 1998, elle fonde avec l'architecte paysagiste Laurence Crémel l'association Squash Cake Bureau – scénographie et paysage au sein de laquelle elle conçoit des installations paysagères et du mobilier urbain. Elle a également créé la scénographie de plusieurs défilés de mode.

TBW Books is pleased to announce the publication of Painting Photographs, a new book by Creative Growth Art Center artist Alice Wong. Wong's bold interpretation of vintage vernacular photographs breathes new life into family album kitsch and cliché shots of plants and landscapes, transforming them into a hyper-color plane of vivid abstraction. Using paint markers to enhance and obscure the formal qualities of appropriated imagery, Wong's hand brings energy to each underlying image, recalibrating the viewer's eye and sparking appreciation for otherwise still compositions. With fluid mark-making and a striking approach to color-blocking, Wong's craft merges with the photographic process to create work that feels at once of times past and completely contemporary.

Creative Growth Art Center is the oldest and largest nonprofit art studio for artists with developmental disabilities in the United States. Since 1974, Creative Growth has played a significant role in increasing public interest in the artistic capabilities and achievements of people with disabilities, providing a professional studio environment for artistic development, gallery exhibition and representation.

First monograph in French: from Rod Stewart to the Industrial Revolution, Art is Magic collates all of acclaimed artist Jeremy Deller's cultural touchstones into one lovingly curated volume, balancing these artistic inspirations with examples of Deller's visionary work.
 
Published on the occasion of the exhibition Jeremy Deller: Art is Magic at Frac Bretagne, Musée des beaux-arts and La Criée art center, Rennes, in 2023.

Texts by Jeremy Deller; interview with Jeremy Deller by Daniel Scott, Alan Kane, Mary Beard, Jonny Banger, Cheerio. Translated from the English by Sandra von Lucius.