Books

A special issue focused on performance writing, with work by Tanya Lukin Linklater (with Michael Nardone), Jibade-Khalil Huffman & Simone White, Jean-Thomas Tremblay, Claudina Domingo (trans. Ryan Greene), Kim Rosenfield, Nathan Walker, Liz Knox, Rona Lorimer, Léo Richard, & Hector Uniacke, Mohamed A. Gawad & Dalia Neis, Mei-mei Berssenbrugge & Teddy Yoshikami, interviewed by Michelle N. Huang, Kyoo Lee and Jocelyn Saidenberg, Adriana Garriga-López, Gabrielle Civil, plus a Kevin Killian Tribute, with Eileen Myles * Scott Hewicker * Cliff Hengst * Karla Milosevich * Craig Goodman * Michelle Rollman * Anne McGuire * Wayne Smith * Tanya Hollis * Steve Orth * Lindsey Boldt * Maxe Crandall * Arnold J. Kemp * Carla Harryman, Lee Ann Brown & Tony Torn * Susan Gevirtz * Laynie Browne * Patrick Durgin * Norma Cole * Jo Giardini. & reviews: Jessica Lopez Lyman & Jocelyn E. Marshall on Gabrielle Civil, alex cruse on Merce Cunningham, Rob Stanton on Anne Boyer, Jack Chelgren on Miyó Vestrini, David Grundy on Stephen Jonas, Virginia Konchan on Sarah Vap.

Ukrainian poet Anna Malihon’s English-language debut gathers daring, resilient, open-eyed poems written before and after Russia’s full-scale invasion. The difficult fates voiced by the protagonists of Malihon’s poems intertwine with her own experience, weaving an alarming but beautiful world where the young grow old and love is met with war. This world, at first shocking, holds the reader in suspension, compelling a desire to rethink and reread. With deft allegory and startling metaphor, Malihon crafts a poetry that seeks to influence the course of events, to reroute history.

Oh oh this is the first issue of Tongue Ring, a journal of experimental writing in English & French, with original contributions and translations of texts* by Ariana Reines*, CAConrad*, Camille Kingué, Kaur Alia Ahmed*, Rafael Moreno, Taos Bertrand, and Théo Robine-Langlois*. 

Vous voyez, c’est ça mon genre. Je ne sais pas ce que c’est. 
Mais c’est mon genre. J’ai cet esprit en moi—qui est très ému
par la féminité. Je pourrais me mettre à pleurer. Je veux poser
mon manteau par terre pour la laisser marcher dessus
—Ariana Reines

Premier numéro de la nouvelle revue fantastique et bilingue (FR + EN) d’écriture expérimentale Tongue Ring, avec des contributions originales ainsi que des traductions* de textes de Ariana Reines*, CAConrad*, Camille Kingué, Kaur Alia Ahmed*, Rafael Moreno, Taos Bertrand, and Théo Robine-Langlois*. 

Published in conjunction with the first major U.S. museum show of Joan Jonas’s art in nearly fifteen years, this monograph features new scholarship on her multimedia installations and performance practice from the early 1970s to the present. Inspired by the format of a reader, it breaks new ground by contextualizing and expanding understandings of Jonas’s body of work through three thematic approaches: the critical notions of gender, being and otherness; the politics of landscape and ecology; and new conceptions of medium specificity and un-specificity. Richly illustrated, with never-before-published sketches and drawings, the volume includes an interview with the late Douglas Crimp and Jonas’s personal reflection on their enduring friendship.

Edited by Barbara Clausen and Kristin Poor with Kelly Kivland, with an introduction by Clausen; essays by Clausen, Adrienne Edwards, André Lepecki, Poor, and Jeannine Tang; interview with Douglas Crimp; writings by Joan Jonas; conversation between Heather Davis, Joan Jonas, and Zoe Todd; and coda by Kivland

This zine is the result of the research residency "Plotting with the archive" that took place at Komplot between September 2025 and January 2026. The publication contains a subjective timeline of Komplot — its strategies, relations and projects — with the aim of organising them and at the same time speculating on possible future developments. The material was produced during a collective workshop in which the archive was explored and activated.

Publication documenting the research made by Dora García for a video project on Oscar Masotta, pioneer of Lacanian psychoanalysis in Latin America and influential art critic.

It features a selection of Masotta's writings as well as contextual essays on his work.Segunda Vez is an art research project centered on the figure of Oscar Masotta (Buenos Aires, 1930, Barcelona, 1979), an author of groundbreaking texts about the Happening, art, and dematerialization, a pioneer of Lacanian psychoanalysis in the Spanish-speaking world, and a happenista. The project has yielded a full-length and four medium-length films by Dora García, two Cahiers documenting the research, and this book. Segunda Vez: How Masotta Was Repeated offers a selection of Masotta's writings, including his early study of Argentinean author Roberto Arlt, as well as texts that contextualize Masotta's thought and broaden the reach of his reflections on the intersections between performance and psychoanalysis, art and politics.

Edited by Emiliano Battista.
Texts by Dora García, Oscar Masotta, Roberto Bolaño, Jorge Jinkis, Inés Katzenstein, Ana Longoni, Emiliano Battista, Aaron Schuster, Julio Cortázar.

English edition

13,5 x 21 cm (hardcover)

320 pages (color & b/w ill.)

When he was prevented from guiding a writing workshop, Quim Pujol resorted to collecting exercises for the participants to work with by themselves, either alone or in small groups. These exercises, suggestions and scores draw on a wide variety of sources, such as poetry, experimental literature, dance, popular performance practices, visual art and all kinds of text populating everyday life. Now expanded into a book, they are invitations to read, write and daydream, to ‘complicate our relationship to language’ and imagine texts in multiple guises. Potential literatures that give pause, redirect the attention or, at times, simply ‘produce a comforting doodle in the volatile palimpsest of human flesh’.

Quim Pujol is an experimental artist and curator working at the crossroads of language and live arts.

Strange Biology, Charlotte Strange’s first chapbook, opens with a social media advertisement marketing a probiotic as an alternative to the “nuclear bomb” of antibacterial acne medication. As Strange investigates the treatment of the human body as a landscape submissive to medical intervention, they ruminate on the contemporary relationship between microbes, gut-directed medical technologies, and capitalism’s encroachment on life. Drawing on the vernacular of social media marketing, they deftly oscillate between instructive and personal registers, stretching the private across a nexus of microbial interminglings. Strange Biology reflects on the semiotic science of the gut: how the language of medicine defines the mutating edges of the human body. 

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 first monograph includes all of Van der Stokker's murals and most of her drawings.

In an interview in this collection of Van der Stokker's wall paintings and drawings, John Waters says, 'Millions of teenage girls have drawings that are good, but no one ever tells them that they are'. Van der Stokker celebrates teenage girlishness, and has since 1983 found both immense support and immense rejection within the art world community. Includes interviews with Van der Stokker and a complete presentation of her works in situ, printed on full-page spreads on quality mat paper.

Dutch-born van der Stokker (1954, Hertogenbosch), active artist-gallery owner on the East Side of New York in the 80's, now lives between Amsterdam and New York. She developed pictorial murals with happy candy-coated slogans that incited acid sarcasm from her contemporaries.

Texts by Anne Pontégnie, Éric Troncy, John Waters/Charles Esche, Mirjam Westen, Amy Kellner.

Jokes is a crash course in psychic disintegration for the genocide generation. Ever wondered what a spoonbill thinks of peremptory norms? Or what a hippo can do with an egg-slice? What’s the secret of the success of men like David Papazian and Johnnie Moore, who get to run the Gaza Humanitarian Foundation, while poetry-reading demographics, from the higher and intermediate managerial and professional occupations down to the footwells of unskilled manual self-erasure, lie around standing up for themselves and fornicating with the void? An Author’s a Joke, to all manner of Folk, wherever he pops up his Head, his Head, wherever he pops up his Head, according to Fielding. But why? The 27 jokes of Jokes unfold over the course of a duration-block, in an exclusive interior, under new management, in the capable trotters, paws, hooves, claws, tentacles, jaws, beaks, and blowholes of a fabulous parliament of beasts, some drunk, some dead, some leery, some high, some tender, in the tradition of Boccaccio or Isaiah. They are all funny.

Designed and typeset by Phil Baber.

Waiting at Martinique Aimé Césaire International Airport, in the city of Le Lamentin, Mayra A. Rodríguez Castro browses the airport kiosk. Alongside books by Césaire, it offers titles by Frantz Fanon, Maryse Condé and Patrick Chamoiseau. She picks up a copy of Nègre je suis, nègre je resterai, a conversation between Françoise Vergès and Césaire published in 2005, and embarks. In Another Sun, Rodríguez Castro and Vergès revisit that seminal conversation, resulting in an eclectic text shaped by ongoing struggles.

In 2005, Françoise Vergès published a book with Aimé Césaire, in which she recorded – three years before his death – powerful remarks by the poet, as incisive and combative as ever, yet imbued, as always, with the universal humanism to which he had remained committed throughout his life. It is fortunate that, drawing inspiration from this interview, Another Sun allows us to hear, in their intertwining, the voices of Césaire and Vergès herself, conveying a message of emancipation and fraternity/sorority that our world needs to hear today. —Souleymane Bachir Diagne

With poems by Danielle Legros Georges, Wole Soyinka, Ishion Hutchinson, Clarisse Baleja Saïdi, Aimé Césaire and Jean Érian Samson.

The first thing a traveller has to learn in Palestine is to wait: the Palestinians have been doing it for more than 50 years. In the refugee camps in the Gaza Strip and on the West Bank, they have been waiting for permission to return ever since the Nabka, the catastrophe of 1948, when they were driven out of their houses and away from their land.

In November 2002, the Brussels-based authors of Time Suspended went on a ten-day visit to Palestine. Like most, everything they knew of the country came from media. They discovered a complex and intricate society that could not be summed up in a soundbite. The many full-bleed images of Palestine presented here (many of them depict a somewhat deserted, laid-back, sleepy, place) challenge years of media-tainted observation and truly give insight into the daily lives of its inhabitants.

Full of wit, music, and a rollicking cast of characters, The Villain’s Dance shows Fiston Mwanza Mujila is back with a bang.

Zaire. Late nineties. Mobutu’s thirty-year reign is tottering. In Lubumbashi, the stubbornly homeless Sanza has fallen in with a trio of veteran street kids led by the devious Ngungi. A chance encounter with the mysterious Monsieur Guillaume seems to offer a way out . . . Meanwhile in Angola, Molakisi has joined thousands of fellow Zairians hoping to make their fortunes hunting diamonds, while Austrian Franz finds himself roped into writing the memoirs of the charismatic Tshiamuena, the “Madonna of the Cafunfo Mines.” Things are drawing to a head, but at the Mambo de la Fête, they still dance the Villain’s Dance from dusk till dawn.

Rebecca Rowland is one of the sharpest writers that I know. This little book combines elements of life in the publishing industry, #MeToo, and a literal boogeyman. It’s long been my desire to do more “social horror.” And Shagging the Boss is the stick I use to measure other submissions in that vein. (Back Cover Text) “Lesson number one: don’t get attached to anyone. Being a cannibal is the only way to truly succeed in this business.” He placed one hand on the door handle, then thought a moment and smiled to himself. “The problem is, once you take a bite, it will never be enough.” After a fortuitous encounter at a local book convention, a liberal arts graduate accepts a position at a flashy publishing company under the tutelage of its charismatic owner only to learn that the press is led, and fed, by a literal boogeyman.

“Rowland tells an exceptionally tight and fast-paced tale about a unique legendary creature stalking the modern publishing industry” — Michael Arnzen, Bram Stoker Award-winning author of Licker and 100 Jolts

“Rowland’s tale is a transgressive mindf*ck that will leave you irreparably unnerved” — L. Stephenson, author of The Goners

“Rowland has a narrative mastery that makes you feel as if a good friend is pulling you in close to tell you some special secret…You’ll be left shook” —Tim Murr, Stranger With Friction

Since 2011, the Velvetyne collective has been dedicated to creating and distributing typefaces under open-source licenses. Its members advocate and promote an uninhibited typographic practice, guided by political principles and aesthetic risk-taking.

This monograph celebrates a generous collective creation—pioneering and recognized on the international scene—that continually questions and reinvents itself. Velvetyne Saved My Life reveals the distinctive workings of this unconventional structure within the contemporary type foundry landscape, its commitment to free-culture and open-source principles, its singular editorial policy, and its pedagogical practice.

The book is structured around a polyphonic interview conducted by Sandra Chamaret with the members of the collective, a series of in-depth articles on emblematic typefaces from the foundry, as well as an exhaustive catalogue of the more than 70 fonts published by nearly as many international authors. 

Halfway between text and type specimen, this book is both a story to read and a manifesto to see.

A dark-humored poet’s novel of cruising, contempt, and database crawling, Stalled Death Train rumbles through the death of David Bowie in 2016 to shake apart its narrator’s sense of self. Nick, a burned out office worker and late-Bowie fanatic, spends his days mourning his fallen star, left to decipher the legacy and lyrics of a singular pop icon whose excesses did not cease, even after his greatest moments had passed. Meanwhile, Nick must solve the mystery of why his boyfriend has begun to self-amputate as a form of autonomously upgrading his dimensions—or at least call tech support before he uploads himself to the cloud.

„Ungenießbare Zeichnungen“ is a series of visual traces by artist Shin Kudo. „Ungenießbar“ means „Unenjoyable“ in German, which is a term that is used to describe a certain category of fungi, considered not edible but also not poisonous. What is enjoyable and what is not? For whom should it be enjoyable? Spores, Blood vessels, nature energy, Alien….Shin Kudo’s intuitive drawing triggers our feelings between our daily world and the world that we often overlooked - The world full of life circling and endless streaming.

The book contains 24 drawings from the “∞” series and the spore print series “The Unknown Friends”, following with an interview conversation with the artist. 

The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Dante's work on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey-a subjectivity that honors all the ambivalence, doubt and tenderness of the human. Yet she remains angered by the structure of gender these works advance, and it is this troubled texture of identity that she examines in The Men.

"Alphabet Soup" collects the sayings of two multilingual girls as written down by their poet father. As their Turkish-German-Russian-American family moves from New York to Berlin, the girls communicate in a witty and colorful language of their own, effortlessly mixing words of different origin. Does who we are determine the way we speak — or is it the other way around? Alphabet Soup shows us the girls’ language as it changes, letting us witness their metamorphoses from toddlers to teenagers. 

With an essay and poems by the author. 

A co-publication with Rab-Rab Press (Helsinki).

Johanna Drucker's The Century of Artists' Books is the seminal full-length study of the development of artists' books as a twentieth-century art form. By situating artists' books within the context of mainstream developments in the visual arts, Drucker raises critical and theoretical issues as well as providing a historical overview of the medium. Within its pages, she explores more than two hundred individual books in relation to their structure, form, and conceptualization. This latest edition of the book features a new preface by Drucker and includes an introduction by New York Times senior art critic Holland Cotter.

Dub: Finding Ceremony takes inspiration from theorist Sylvia Wynter, dub poetry, and ocean life to offer a catalog of possible methods for remembering, healing, listening, and living otherwise.

"In DUB Alexis Pauline Gumbs continues with the third book in her poetry series, the first two books being Spill, inspired by Hortense Spillers, and M Archive, inspired by Jacqui Alexander. Whereas Spill deals with the contemporary afterlives of slavery and M Archive describes the post-dated evidence of our imminent apocalypse, DUB destroys Gumbs' own origin story, as she questions the assumptions and histories she has held onto most of her life. This text, through engagement with Sylvia Wynter's rigor, reinvents language outside of personal histories.

DUB is organized into topical sections, where spacious prose poems animate the voice of an underwater chorus in ceremonies that flow into one another. Beginning a daily writing practice, Gumbs wrote DUB based on moments of emphasis in Sylvia Wynter's essays (and one interview over several decades).

This book is influenced by the promiscuity and prolificity of dub music, the confrontational home-grown intimacy of dub poetry, and the descendants of this work. Dub uses the impact of repetition and the incantatory power of the spoken broken word. Gumbs uses dub to emphasize that Sylvia Wynter learned every colonial language and came to the conclusion that the ways of thinking that made colonialism and slavery imaginable were constructed over time and heretical to the ways of thinking that came before them; and so it must be possible to construct ways to understand life and place differently now as well.

Gumbs goes back to the origin stories that precede her and turns the blood into paint, emphasizing that "then" is also "now" through the broken and intense voices of ancestors. Inspired by Wynter's heretical poetic action against our deepest beliefs, DUB is an artifact and tool for breath retraining and interspecies ancestral listening.

Throughout the text, listening includes speakers who have never been considered human: whales and algae. Gumbs is attentive to kindred beyond taxonomy, questioning kinship loyalty, and suggests that our perceived survival needs are responses to a story we made up and told ourselves was written by our genes, a story that can be changed. This book will be of interest to scholars of African-American studies, diaspora studies, feminism, queer theory, English, creative writing and poetry"

This book is built of stories and provocations—like the birth of a pearl, it transforms that which irritates, layer by layer.

Through speculative fiction and critical essays, Pear Nuallak explores what happens when messy, desiring bodies collide with the hard edge of power. The world’s neat categories are unmade and rewritten, revealing that racial capitalism’s myths are just as much fantasies as Thai bird princesses and transgender magic.

Moving playfully across folktale, horror, satire and critique, Nuallak examines how different beings are formed politically, bodily and emotionally. We discover interdimensional fungi resisting colonisation, queer monsters living on Hampstead Heath, and a mysterious canal running through the ruins of capitalism into interstitial realms. We test the borders of queer diasporic nationalism and take apart the racially melancholic memoir. In this fiery yet delicate collection, we aren’t bound by truth, but flow with it into new worlds.

Pear Nuallak is a visual artist and writer from London. They run community art workshops and co-organise a queer social hub with the Black Cap Community Benefit Society. Their writing has been published in The Dark and Interfictions. Pearls from Their Mouth is their first book.

A comprehensive overview of the unique work of the Italian artist born in 1931 and "discovered" late on the international scene, with numerous texts and an interview.

Published after the eponymous exhibition at Consortium Museum, Dijon, April 26th – September 8th 2024.

Born in Naples, Italy, in 1931, Isabella Ducrot is a young artist with a young career. Like many women of her generation, she moved into art after raising her children. Her formative years were marked by continuous travels with her late husband, during which they amassed hundreds of Persian miniatures and rare antique textiles of many kinds.

Contributions by Franck Gautherot & Seungduk Kim, Verena Lueken, Tobias Pils, Tschabalala Self, Andrea Viliani, Miranda Fengyuan Zhang.