The Paper is Patient

A visual and text based investigation led by Moroccan artist Bouchra Khalili during many years following the traces left by the Mouvement des travailleurs arabes, a group fighting for the rights of the Arab workers in France at the turn of the 1970s. 

Khalili focused her attention on the theatre groups Al Assifa and Al Halaka who were created in this political environment. The publication unfolds from The Circle (2023), a video installation shown for the first time at the 15th Sharjah Biennale (2023), at Macba (2023) and at the Luma Foundation (in Arles in 2023-2024 and Zurich in 2025).

The book is published in conjunction with Bouchra Khalili's exhibitions as guest visual artist of the Festival d'Automne in Paris in 2025.

Texts by KJ Abudu, Bouchra Khalili, Mohamed Amer Meziane, Abdellali Hajjat ; interviews with Saïd Bouziri, Hedi Akkari, Smaïne Idri, Mustapha Mohammadi, Philippe Tancelin, Mia Radford, Lucas Yahiaoui.

Eleven performance-based projects by Dora García, documented through letters, emails and other elements from the artist's private correspondence with various interpreters of performances, whether they were direct collaborators of simple spectators.

Edited and prefaced by François Piron, Steal This Book, a tribute to Abbie Hoffmann's pamphlet of the same name, is not a definitive attempt at rendering the pieces on which it is based; it calls for a free, active and contradictory reception, that of an open archive. Part epistolary novel, part rough screenplay and part user's manual, Steal This Book proposes a body of discussions, questions without answers and endless ramblings, in place of the critique's or the artist's voice. 

The book has also been presented in exhibitions as a Dora García sculpture meant to be stolen, but it can also be purchased in selected bookstores worldwide.

Contrary to the idea that would have art addressing the greatest possible number of people, Dora García (born in 1965 in Valladolid, lives and works in Barcelona), best known for her performance devices, is interested in what is enacted at the individual scale: in a radically conceptual form, at once accessible and elegant, she elects to transmit oddly coded messages, their ask being to bestir a specific relation with each and every visitor. Dora García is interested in everything that intervenes in the communication between an artist and his/her public: art no longer represents the world, but itself becomes a producer of realities often on the borderline of fiction and make-believe. It urges us to undergo experiences other than ordinary situations, at once simple and hard to grasp. 

Dora García has had solo exhibitions at the MACBA in Barcelona, the Reina Sofia in Madrid and the SMAK in Gent. She represented Spain at the Venice Biennale in 2011, and was a part of the Skulptur Projekte Münster 07, the Sydney Biennial in 2009, the Biennale de Lyon in 2009 and Documenta 13 in 2012.

A comprehensive retrospective of the Spanish artist's work, covering his major exhibitions (Manifesta, Reina Sofia, MACBA, Raven Row, etc.) and including all of his texts published as fanzines over a period of twenty years, a new critical essay by Kim West, and a wide-ranging conversation.

Conceived as a compilation of works and writings of the last two decades, this book is structured as an alternating succession of four different registers: four recurrent modes. A long-form interview, a series of questions from different collaborators, documentation of a selection of projects, and a compilation of the facsimilia of the brochures published by the author since 2008. The aim of this concatenation of recurring sections is to delay the linear progression suggested by the narrative of a compilation, by the apparent causal string of decisions, ideas, references and works displayed as an accumulative "biography" of the artist's practice. However, this being a bound book, the suggestion of an interwoven relation between all the works, regardless of when, where or how they were made, must submit to the order locked by the sewn spine of its signatures, the folder of bound pages that forms each section of a book.

Designed by Filiep Tacq, the book includes an essay by Kim West and a long-form interview by Beatriz Herráez, punctuated by questions from Filiep Tacq, Lisa Tan, Jon Mikel Euba, Antonio Menchen, Alex Valijani, Johanna Gustafsson Fürst, Itziar Okariz, Olatz Otalora, Antonia Majaca, Pablo Lafuente and Koenraad Dedobbeleer.

Poet, philosopher, speculative architect and transdisciplinary artist, Madeline Gins is well known for her collaborations with her husband, the artist Arakawa, on the experimental architectural project Reversible Destiny, in which they sought to arrest mortality by transforming the built environment. Yet, her own writings — in the form of poetry, essays, experimental prose and philosophical inquiries — represent her most visionary and transformative work. Like Gertrude Stein before her, Gins transfigures grammar and liberates words. Like her contemporaries in conceptual art, her writing is attuned to the energized, collaborative space between reader and page.

The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader is a revelatory anthology, edited and with an introduction by the writer and critic Lucy Ives. It brings never-before-published poems and essays together with a complete facsimile reproduction of Gins' 1969 masterpiece, WORD RAIN (or A Discursive Introduction to the Intimate Philosophical Investigations of G, R, E, T, A, G, A, R, B, O, It Says), along with substantial excerpts from her two later books What the President Will Say and Do!! (1984) and Helen Keller or Arakawa (1994). Long out of print or unpublished, Gins' poems and prose form a powerful corpus of experimental literature, one which is sure to upend existing narratives of American poetics at the close of the 20th century.

Edited by Lucy Ives. 

Dans « The Prime Times, Volume 1 », Sophie T. Lvoff met en scène sa pratique quotidienne d’atelier. Au travers de poèmes en haïku, de gros titres et de photographies de son atelier traversé par la lumière du jour au milieu de l’après-midi, le journal chronique la torpeur des longues journées de travail mêlées d’attente, de glimpses et de glances. 

En attendant the prime time, Sophie lit les nouvelles sur son téléphone, parcourt paresseusement sa bibliothèque, écrit des emails à des amix éloigné·es et parfois à elle-même. Elle note des blagues et des poèmes dans son cahier, mange des snacks, doute d’elle-même, fume, jette des regards autour d’elle, jusqu’au moment précis où la photo doit être prise.

In « The Prime Times, Volume 1 », Sophie T. Lvoff dramatizes her daily studio practice. Through haiku poems, headlines, doodles and photographs of her studio pierced by mid-afternoon daylight, the journal chronicles the torpor of long workdays mixed with waiting, glimpses, and glances.

While waiting for the prime time, Sophie reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.

“Today is the day with the letter,” Celan writes to Bachmann on October 30, 1957. Theadora Walsh’s essay-poem, The Almond concerns, for I hesitate to write “about” or “is in relation to”, the love between Paul Celan and Ingeborg Bachmann. Two Austrian writers flung across Europe by the atrocities of the Holocaust, excavating the narrows of a language not theirs, or taken from them. An almond is the closest two people can be, and becomes the binding structural conceit of the book, two segments reaching across the blank page to each other, across history, time and language.

Poems on light and remnants. Light as mordant, as acid that etches through surface, as something that wraps itself around and between things, revealing form. The writing touches on dregs, remnants, residue and how we make sense of them, by making constellations and navigating through those diagrams. 

Anna-Rose Stefatou (b.1996, Athens) is a Greek-British artist based between Athens and London, working between moving image, installation, photography, and writing. Stefatou’s interdisciplinary works attend to stories attached to place and beginning to exist through writing, whether they become a structure to hold it, or whether language simply runs through them. Language is used both as an outset and as a distillation mechanism for ideas, with materials and imagery in visual works responding directly to the text. Gathering and repositioning knowledge guides her creative process: research includes archival footage, taking interviews, collecting objects, and location visits. This process is made visible through her material approach to the photographic image, transformed through different materials, forms and uses, as it unfolds and re-invents itself within new contexts. Stefatou graduated from the Slade School of Fine Art in 2019. Recently, she undertook a residency at Hospitalfield House, Scotland in 2023.  Upcoming projects include an exhibition at Pharmakeion, Athens in 2025 as well as a publication Dregs, Beacons that will be realised in 2025.

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.