Books

Exhibiting for Multiple Senses looks into artistic and curatorial research practices that emphasize the multisensory character of the human body in the encounter with artworks. For some time now, numerous contemporary artists and curators have moved beyond the primacy of the visual in the experience of art exhibitions. The book discusses this shift by bringing together experimental exhibition-making, curatorial theory, art, design, and museum research, disability activism and crip theory. Its intent is to demonstrate resonances between curatorial theory and practice and between disability and crip art activism. While the latter is still often regarded as relevant for only small portions of visibly disabled people, in recent years neurodiversity and invisible disabilities have proven to be relevant for the sensory experiences of much larger parts of exhibition audiences.

Exhibiting for Multiple Senses shares famous and lesser-known examples of experimental exhibitions as well as of artistic practices linked to exhibitions. By mobilizing the senses of touch, smell, taste, and hearing, as well as applications of multimodal technologies and insights from neuroscience, these examples all explore abilities and possibilities of the complex and diverse sensory apparatus that is the human body.

Contributors: David Bobier, Luca M. Damiani, Stephanie Farmer & Hettie James, Eva Fotiadi, David Gissen & Georgina Kleege, Adi Hollander, Lilian Korner, Elke Krasny, Renata Pękowska, Caro Verbeek

This book deals with Design and Conspiracy Theories, two things that are often thought of as opposites. Design is generally perceived as something that simplifies and targets the essence of things; something that should say the Truth. Conspiracy theories instead are far-fetched and create confusion. Design is expected to be able to bypass false rhetorics because its very premise is to deal with how things work in reality. However, what is argued in this book is that design and conspiracy theories mirror each other. They act with similar goals and they adopt comparable representations. They intersect in their practices and in their artifacts because they share a common ground at their fundaments. This common ground is Conspiratorial Design.

Monument Zero emerges from International Women’s Day on 8 March 1979 in Iran. The archival materials that form the starting point depict six days of protests, sit-ins, and conferences that began on this day in Tehran. These historical objects have been preserved by the mercy of their creators, who were present during the 1979 protests, and are scattered across personal and public holdings worldwide. By bringing together the materials that depict this forgotten history, Monument Zero counters historical erasure and explores the preservation of political struggles through collective artistic practice.

Poet, writer, and translator Cecilia Pavón emerged in the late 1990s as one of the most prolific and central figures of the young Argentine literary scene—the so-called “Generation of the 90s”: artists and writers whose aesthetics and politics were an earnest response to the disastrous impact of American-exported neoliberal policies and the resulting economic crisis of 2001. Their publications were fragile—xeroxed, painted on cardboard—but their cultural impact, indelible.

A cofounder of Buenos Aires’s independent art space and publishing press Belleza y Felicidad—where a whole generation of soon-to-be-famous Argentine artists showed their work for the first time—Pavón pioneered the use of “unpoetic” and intimate content—her verses often lifted from text messages or chat rooms, her tone often impish, yet brutally sincere.

In 2015, Pavón’s first volume of collected poems, ‘A Hotel with My Name’, was published in English. Contemporary writers in the United States, Australasia, and Europe discovered a deep affinity with her work. Pavón’s protagonists, Ariana Reines noted, “are absolute women, guileless dreamers, saints in sneakers, on sidewalks, in jail, in Zara, on buses, in nightclubs, in bed.”

Translated by Pavón’s own poetic protégé Jacob Steinberg, ‘Little Joy’ collects the best of Pavón’s short stories written between 1999-2020, originally published in three volumes in Spanish.

A materialist analysis of the links between global capitalism, energy politics, and racial oppression in Palestine. 

Why has Palestine become a defining fault line of contemporary politics?

Challenging mainstream narratives that reduce Palestine to ancient hatreds, humanitarian tragedy, or legal abstractions, Resisting Erasure places Israeli settler-colonialism within the broader historical arc of imperialism, race, and fossil capitalism in the Middle East.

Resisting Erasure is a succinct and far-reaching critique of the socio-economic and political forces that sustain the Israeli settler-colonial project. An essential introduction for anyone looking to understand what Palestine reveals about the world – and what it demands of us today.

A lyric essay written through Kathy Acker's evocative prose, public statements, and private archives.

A cover of Kathy Acker’s career and a study of the development of narrative in her books deftly tracing Acker’s interactions with a diverse palette of avant-gardisms, world letters, cultures, and theory. Martin follows Acker through New York’s downtown St. Mark’s Poetry Project scene, Black Mountain College, and the Beats, as Acker embarks on her own deconstructions of subjects autobiographical and historical, art procedurals, proto-conceptual writing, legacies, and spirits.

Horse Saison est une revue apériodico-saisonnière sur les chevaux et l’espèce équine en général. Cette revue est née d'une envie de penser et de montrer le monde équestre autrement. Chaque numéro présentera des contributions variées d’artistes d’horizons aussi différents que leurs pratiques artistiques, toustes s’étant intéressé.es pour le magazine au monde équin et à son écosystème.

Avec les contributions de : Xavier Klein, Mona Glassfield, Eliot Duran, Maxence Doucet, Twotma, Eric Kinny, Lois Ladent, Coldruru, Euro Love, Bérénice Béguerie, Emile Barret et Aurélien Masson

Abattre les arbres, boucher les fontaines, renverser les pierres réunit les 4 tomes d’un conte épisodique initialement paru en auto-édition tout au long de l’année 2021.
”Abattre les arbres, boucher les fontaines, renverser les pierres” sont les mots d’une archéologue s’exprimant à la radio au sujet des intentions des premiers chrétiens arrivant en Grande Bretagne. Cette formule a attendu de longues années dans mes notes avant de devenir un récit d’images.

La collection Perruches se consacre à rassembler des conversations d’artistes s’intéressant dans leur pratique à des animaux autres qu’humains. Chaque artiste est ainsi pour l’occasion considéré·e comme un « terrain » d'étude au sens ethnographique du terme, ou comme un monde à venir découvrir et comprendre.

The Perruches collection is dedicated to bringing together conversations by artists whose practice interested in non-human animals. Each artist is considered as a “field” for study in the ethnographic sense of the term, or as a world to be discovered and understood.

Ces entretiens tentent de rendre compte des différentes relations que ces praticien·ne·s de l’art entretiennent avec le vivant. Pour ce premier opus, la collection Perruches a invité l’artiste peintre Tatiana Defraine.

These interviews attempt to capture the different relationships that these art practitioners have with living things. For this first opus, the Perruches collection has invited the painter Tatiana Defraine.

Facsimilé d'un carnet inédit de Pascal Doury réalisé par Jonas Delaborde (Der Vierte Pförtner Verlag) et co-produit par les Editions l'Amazone, réalisé dans le cadre de la publication des Archives Elles Sont de Sortie suite à la parution de Choquer le monde à mort. Elles Sont de sortie. Bruno Richard - Pascal Doury.

„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. 

Not so long ago, comedy and laughter were a shared experience of relief, as Freud famously argued. At their best, ribbing, roasting, piss-taking and insulting were the foundation of a kind of universal culture from which friendship, camaraderie and solidarity could emerge.

Now, comedy is characterized by edgy humour and misplaced jokes that provoke personal and social anxiety, causing divisive cultural warfare in the media and among people. Our comedy is fraught with tension like never before, and so too is our social life. We often hear the claim that no one can take a joke anymore.  But what if we really can’t take jokes anymore?

This book argues that the spirit of comedy is the first step in the building of society, but that it has been lost in the era of divisive identity politics. Comedy flares up debates about censorship and cancellation, keeping us divided from one other. This goes against the true universalist spirit of comedy, which is becoming a thing of the past and must be recovered.

Upside-down trees with roots reaching toward the cosmos, glasses, pitchers, transparent vessels, and bodies blending human and animal, male and female features populate Jacopo Pagin’s works. These figures reveal themselves in their decadent and symmetrical being, caught within a web of references centered on the evocative power of the gaze.

The first monograph dedicated to Jacopo Pagin, designed and edited by Ismaël Bennani and Orfée Grandhomme and featuring a critical contribution by Alessandra Franetovich, brings together over 200 drawings and paintings to explore the visionary, obsessive, and hypnotic qualities of the artist’s work and its profound connections with exotic, mediumistic, and new-age practices.

The book is co-published with Make Room, Los Angeles.

60 painted portraits of friends at work from the art world and culture.

In the expanded field of contemporary art, it is common to consider "work" and "pleasure" as one and the same thing. In this sense, it is easy to see how "labor" rapidly doubles as "labor of love," the subtext being that doing what one enjoys is invaluable no matter what. Inhabiting this dichotomy, Ben Wolf Noam's book Work Portraits Portrait Work is both a visual exploration of work in the cultural field and a statement of personal artistic intentions. Presenting 60 painted portraits of friends from the art world and culture in general, the book is a compendium of artists, musicians, chefs, filmmakers, actors, writers, and academics depicted while laboring in their chosen workplaces. At the same time, it is also a conceptual reflection on the complex nature of work in the cultural field, the relationship between subjectivity and collectivity, self-representation and belonging. The outcome is a surprisingly heartwarming object, somehow suggesting that work in the arts is never solely an individual affair. As Dean Kissick writes in one of the four texts specifically commissioned for the book— with Laura Adler, Gabriel Winant, and Ashley Mears —"art is a communal project." Furthermore, Work Portraits Portrait Work serves as a record of a specific time and place—most portraits depict people close to Noam himself, often in studios, apartments, cafés—but it does so embodying a fantasy of such time and place. The subjects of the paintings become a community, and this community becomes a character in Ben's narrative about what making art today might signify: a representation of what artistic representation could look like.

Conceived as a visual résumé, Installation Views provides both a comprehensive overview of Charlotte Posenenske's solo exhibitions and a record of her numerous group shows.

In her Manifesto, Charlotte Posenenske stated: "I find it difficult to come to terms with the fact that art can contribute nothing to the solution of pressing social problems."
Developing her artistic practice throughout the 1960s, Posenenske produced a body of work that uniquely combined several strands of the art of the period: conceptualism, minimalism, and socially engaged participatory art. Her Manifesto, published in Art International in May 1968, lays out the social demands on art as well as the impossibility of fulfilling those demands. Shortly after its publication, Posenenske left the art world behind to pursue her studies in sociology, undertaking a new career in that field.

Conceived as a visual résumé, Installation Views provides both a comprehensive overview of Charlotte Posenenske's solo exhibitions and a record of her numerous group shows. The book features an essay written by curator Erlend Hammer on the role of documentary photographs in the circulation of works of art. 

The book was published in conjunction with the eponymous show at the Haugar Art Museum in Tønsberg, Norway—the first full-scale presentation of the artist's oeuvre in Scandinavia. The exhibition showcased works from all the artist's major series of modular sculpture. Consisting of works made over the course of less than 12 months, between 1967 and 1968, preceding the abrupt end to Posenenske's career as an artist, the exhibition had the character of a snapshot. We are left wondering whether her withdrawal from the art world was a logical or necessary consequence of the development of the series. What are we to do with Posenenske's assertion that art is powerless to effectively change society for the better?

In 1962 at the age of 71, Joseph Elmer Yoakum (circa 1891–1972) reported having a dream that inspired him to draw. Thereafter the retired veteran began a daily practice and over the next 10 years produced some 2,000 works. 

Yoakum was born into poverty, had very little schooling, and at an early age left home to join a circus. He wound up working with several circuses, traveling across the United States as well as abroad and becoming intimately familiar with the world's various landscapes. These experiences would provide the foundational memories that fueled his deeply spiritual vision decades later. 

When he began to put that vision to paper in his apartment on Chicago's South Side in the early 1960s, Yoakum quickly developed a unique visual language, independent and distinct from other artists in the city, such as those involved in the flourishing Black Arts Movement or the up-and-coming Chicago Imagist group. His drawings—predominantly landscapes in ballpoint pen, colored pencil, pastel, and watercolor and inscribed with locations from all seven continents—reflect the scope of his national and international travels as well as his idiosyncratic and poetic vision of the natural world.

Plant-Based Monster Trucks is the latest drawing collaboration between Swiss illustrators and artists Lina Müller and Luca Schenardi. In September 2023, they spent a month in an early 1900s bungalow in Echo Park, Los Angeles—their first time visiting the city.  

It felt like a Lynchian dream: wandering through paradise-like garden neighborhoods, hearing owls at night from bed, watching coyotes from the porch swing at dusk, sitting in cars rolling along in an endless stream of other cars. But mesmerizing scenes could shift abruptly into unsettling ones. The artists were drawn to the contrast between light and shadow – on multiple levels. A peaceful stroll down a quiet street lined with blooming flowers suddenly turns into a frantic escape from a bloodhound trying to tear through a fence to get to them. A sinister stairway leading down from the sunlit Sunset Boulevard awakens primal fears. A black hole in the last few meters of a dark sidewalk—just before reaching a legendary diner-turned-music-club – seems like it could swallow you whole. Plant-based pizzas kill your appetite. And monster trucks are real. 

Exclusive works designed by Laure Prouvost for her carte blanche at the Mucem in Marseille, a series of immersive and poetic installations in the heart of Fort Saint-Jean, photographed by Raphaël Massart for this cut-out book, between an artist's book and an exhibition catalogue, accompanied by drawings and critical texts.

For the Mucem, Laure Prouvost has created a series of immersive installations in the heart of Fort Saint-Jean. Repurposed everyday objects, glass sculptures, sound mirages, and underwater videos shot in the depths of the calanques and around Frioul compose a sensitive and poetic universe. Between fiction and reality, the artist invites visitors on a sensory journey where everything is transformed: forms, narratives, and life itself.
The book was conceived as a visual journey leading from the Old Port of Marseille to Fort Saint-Jean and into the very heart of each work. To recreate this encounter between artist Laure Prouvost and the Mucem, there is a constant dialogue between the exterior—the sea, the stone of the fort—and the interior—the intimacy of the installations that unfold in the air, in the bowels of the earth, and underwater... Designed in close collaboration with the artist, the book captures this moment through photographic work carried out especially by Raphaël Massart and an evocative form designed by the artist: like a book that also floats in the Mediterranean. To accompany this visual unfolding, a booklet embedded in the heart of the book contains texts by Hélia Paukner, curator of the exhibition, and Mathilde Roman, art historian.

Published on the occasion of the eponymous exhibition at the Mucem, Marseille, in 2025.

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.

A cento is a poem composed of verses or fragments from various literary texts that are collaged into a new one. The word comes from an ancient Latin term which means a blanket made of textile scraps.

This etymological root interweaves important aspects of Cosima zu Knyphausen's practice: the materiality of a piece of cloth—the support of the paintings—with the process of quoting, paraphrasing and appropriating art historical motifs, in order to imagine an alternative canon that is shaped by lesbian desire.

Cento brings together a selection of paintings by Cosima zu Knyphausen from the last five years. Instead of following a chronological order, the works are presented in an intertextual reading that puts them in dialogue and show the range of interests that the artist has pursued in her versatile practice, such as her variations on the motif of "women reading", Christine de Pizan's medieval feminist utopia, the interior of a Berlin queer bar, and egg shell universes.

Accompanied by an essay by Rahel Schrohe, and a poem of the artist, the pages of Cento are overarching Cosima zu Knyphausen's themes, as well as assembling the book itself as a context for the work: a mosaic, a patchwork garment, an egg.

Collections Typologie reveal a new issue devoted to the Camping Tent. A common motif in both rural and urban landscapes, the tent is a ubiquitous typology whose apparent simplicity is deceptive. Halfway between the architecture we manipulate and the furniture we live in, the tent covers a wide range of uses and brings together heterogeneous realities. Reminiscent of primitive huts, descended from military encampments, shelter for leisure or refuge, precarious yet resistant, protective yet porous, tents are used in both delineated and extreme environments. Simply assembled from ultra-high-performance materials, they are designed in the West and produced in Southeast Asia. Even more than the single-material objects studied in previous Typologie reviews, this composite object makes us aware of the complex nature of the things that surround us. 

The book is composed of 136 pages and published both in a French and an English version. As in the former issues, the first part of the book gather a collection of 60 tents from all around the world showing the wide diversity of shape of this object. This part is carefully photographed and reproduced in black and white along 88 pages. 

The second part of the book put together an introduction text by journalist Sina Sohrab and a crossed interview between three professionals who are sensitive to and knowledgeable about it: Olivier Sirost, historian and sociologist specialized in Camping, Anna Ferrino, director of the Italian company Ferrino, the oldest manufacturer of tent in Europe and Raphael Têtedoie, a designer of outdoor gears and expert in tent.  

This section, which spans 48 pages, is illustrated with a photo report from a Chinese factory, archival images, and a photographic series by Anaick Lejart and Marine Armandin.

Texts by Sina Sohrab, Olivier Sirost, Anna Ferrino, Raphaël Têtedoie.

Though his years in the New York free-jazz scene of the sixties cemented his reputation as "one of the most forceful and convincing composers and soloists in his field," saxophonist Sonny Simmons (1933–2021) was nearly forgotten by the '80s, which found him broke, heavily dependent on drugs and alcohol, and separated from his wife and kids. "I played on the streets from 1980 to 1994, 365 days a year," Simmons tells jazz historian and biographer Marc Chaloin. "I would go to North Beach, and I'd sleep in the park. The word got around town that Sonny is a junkie, really strung out."

The resurrection of Simmons' career―upon the release of his critically acclaimed Ancient Ritual (Qwest Records) in 1994―has become a modern legend of the genre. In the last two decades of his musical career, Simmons broke through to a new echelon of recognition, joining the pantheon of great innovators and masters of the music. But to this day he remains an undersung figure. Here, in the first ever book dedicated to his life, Simmons recounts his childhood in the backwoods of Louisiana, his adolescence in the burgeoning Bay Area jazz scene and his star-studded life in New York playing alongside the greats.

Un texte très personnel de Yann Chateigné Tytelman, commissaire d'exposition et critique, qui établit un lien entre son passé, son enfance et son parcours de curateur, ses choix artistiques, ses expositions, souvent en lien avec la thématique du silence.

« Tout a commencé par une lettre à mon père. Cela faisait une dizaine d'années qu'il était mort, et j'ai tout à coup eu envie de lui écrire au sujet du silence, de son silence, du silence entre nous. Cela a commencé en 2020, comme une nécessité. Le silence, alors, était frappant. Il résonnait avec d'autres voix effacées, d'autres vides, d'autres émotions. J'ai cru que je n'arriverai pas à m'arrêter. Ni journal, ni essai, ni nouvelle, Blackout est un tissage, une tresse faite de ces lignes de silence, et raconte, par fragments, l'histoire d'une dépossession, d'une entrée dans l'obscurité. »

Cette publication s'inscrit dans la collection Before publication qui réunit textes d'auteurs ou inserts d'artistes.

The success of new far-right movements cannot be explained by fear or rage alone – the pleasures of aggression and violence are just as essential. As such, racism is particularly intense when it is erotically charged, migration presenting as a sexual threat to white women being one of many examples. Germany’s strikingly successful right-wing political party Alternative für Deutschland is, according to the historian Dagmar Herzog, characterized by this “sexy racism,” with its second main feature being that of an obsessive antidisability hostility—both elements resonating strongly with Nazism. In The New Fascist Body, Herzog connects her analysis of fascism’s libidinous energy with its animus against bodies perceived as imperfect. Only by studying the emotional and intellectual worlds of past fascisms can we understand and combat their current manifestations.

The book features an afterword by Alberto Toscano, author of Late Fascism: Race, Capitalism and the Politics of Crisis (Verso 2023).