Teddy Sandoval and the Butch Gardens School of Art

Clara Istlerová: A Life Among Letters is the first publication in the United States to delve into the design landscape of the former Czechoslovakia through the lens of Czech designer Clara Istlerová (born 1944). A trailblazer in her field, Istlerová was one of the few women in the male-dominated field of Czech typography. This publication introduces readers to Istlerová’s renowned book designs, particularly highlighting the analog processes she utilized to create one of the most influential books on Czech architecture, Švácha, Rostislav. From Modernity to Functionalism (Odeon, 1985).

The publication features an intimate interview with Istlerová conducted by editor Anežka Minaříková, accompanied by work from Istlerová’s personal archive alongside discussions detailing her creative process. Offering a vivid portrayal of an era where design was a tangible, labor-intensive endeavor carried out in close collaboration with typesetters and printers, the publication unveils the Czech design narrative of the twentieth century to English-speaking readers, highlighting Istlerová’s lasting impact and central role.

Design by Anežka Minaříková and Marek Nedelka

Surreal, psychedelic riffs on domestic objects from a trailblazing feminist artist. 

From her beginning in the mid-1960s through the early '70s, German artist Anna Oppermann (1940-1993) - best known for her encyclopedic, immersive installations - created an astonishing series of surreal, almost psychedelic drawings that quietly explode the private space of the home, and her experience within it. These early drawings contribute to a feminist reentering of spheres traditionally associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds and tables display drawings that themselves open out into new domestic scenes. By placing her own body—her knees, arms, the back of her head—as reference points in the work, Oppermann emphasizes the gendered realms of the home and the relationships that we form to our private spaces.

This volume gathers these drawings and early installations in an English-language publication for the first time.

Calla Henkel and Max Pitegoff: German Theater 2010–2022 is the first monograph on the work of the artist duo Calla Henkel (b. 1988, Minneapolis, MN) and Max Pitegoff (b. 1987, Buffalo, NY). Their manifold practices play out, live test, and fictionalize the mechanisms that shape creative communities. Chronicling over a decade of production in Berlin, the book is organized around the influential bar and theater spaces they ran there: Times Bar (2011–12), New Theater (2013–15), Grüner Salon at the Volksbühne (2017–18), and TV Bar (2019–22), and includes an interview with curator Fabrice Stroun and essays by David Bussel and Patrick Armstrong. Henkel and Pitegoff's photographs, plays, writing, and films address the complexity of collective action, painting a deadpan picture of the social and economic systems that sustain communal exchanges and their eminently fragile autonomy.

Edited by Fabrice Stroun
Design by Dan Solbach

Andrew Berardini on Artificial Intelligence; Pepón Osorio; Arash Nassiri; Gloria E. Anzaldúa; Marcela Guerrero speaks with C. Ondine Chavoya; Daisy Lafarge; Dani Blanga Gubbay; Davide Stucchi speaks with Alex Bennett; Luca Lo Pinto on Hanuman Editions; Reynaldo Rivera & Abdellah Taïa; Jungle Books...

This issue comes with different covers, randomly distributed.

What does an oracle look like? gathers essays and drawings made by Perri MacKenzie between 2020 and 2024, themed loosely around pottery painting and vocal expression. The drawings, rendered in splashy India ink and collage, range from expressive sketches to theatrical still lives and experimental bandes dessinées. The book presents for the first time the essay Cathedral. Part memoir, part literary/sonic investigation, it meditates on the vocal texture of a Hollywood actor.

Designed by Ilke Gers.

Printed on thick cardboard, this book throws you right back into the child-like explorer mode we know from when we were young. It illustrates the mindful written words of Lisa Gutscher journey through the inner body based on a large archive from found images, screenshots and other image sources to unfold a whole new world in front of your eyes.

This publication brings together two original screenplays for yet-realized video works by Robinson along with a collection of research material presented as a retrograde calendar. The screenplays, / Imagine Prompt: Catfish Monogamy and The Jealousy of Sagittarius A*, both deal with contemporary life and creative labor as they intersect with digital culture and current anxieties regarding AI. In addition, the screenplays are followed by A Faggot is a Unit (Homage to Hanne Darboven), a collection of archival photographs, scanned objects and ephemera, as well as stock imagery and graphics from the internet collected by Robinson over the course of seven years (2015–2021). The imagery further splits the disorienting narratives presented in the two screenplays to offer a kaleidoscopic and unpredictable way of reading stories while functioning simultaneously as visual companion and counterpoint to the scripts.

Writing and editing is central to Robinson’s published and film work, inquiring into queer histories and the contemporary economy of the image, not as novelty subjects in themselves, but as forms of knowledge integral to questioning histories of perceived liberation. We are committed to representing diverse voices and perspectives that challenge and build upon our vision of bringing material from the fast-paced digital experience to the book form.

Padraig Robinson is a Berlin-based artist, filmmaker and writer. 

“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).

A facsimile of the GALA Committee's mock auction catalog for an artistic intervention into the props and plots of Melrose Place.

Originally published in a limited run in 1998, Primetime Contemporary Art documented In the Name of the Place, a radical two-year intervention by a group of artists, initiated by Mel Chin and known as the GALA Committee, on the primetime television show Melrose Place. This extremely rare artist's book is reproduced for the first time as a facsimile edition.

The artists comprising the GALA Committee worked with the producers of Melrose Place to develop a series of political works that were used as props and plot devices across two seasons of the show, providing surreptitious commentary on reproductive rights, HIV/AIDS, the Gulf War, domestic terrorism, corporate malfeasance and substance abuse. Some of these topics were banned by the FCC at the time, and the group's works allowed for the artists and the show to create political commentary that went unnoticed by censors. The artworks they produced were exhibited at the Los Angeles Museum of Contemporary Art in 1997 and then sold at an auction at Sotheby's to support several charities. Primetime Contemporary Art was created by Mel Chin and Helen Nagge as a mock auction catalog documenting the artwork made for the show and the conceptual framework of the GALA Committee.