Ostensibly as documentarian as his work on The Family of Man, Image Storage Containers (2012) does something closely related in intention to the latter and yet very different. On one level, it can be described as condensing, as Marie Muracciole has noted, two moments in the myth of photography as a “universal language”: the first involving The Family of Man as imperial project; the second, photography’s sheer technicity as a mechanical means of reproduction, with all its attendant connotations ofobjectivity and scientificity.

Atop this interfolding of meanings one can discern two additional layers: the Image Storage Container as a kind of “thought experiment,” an auto-pedagogical exercise to schematize the human nervous system, and, a more polemical read, as a proposition about the present conditions for viewing photographs within today’s networked image regime—at a moment when computer technologies, themselves predicated upon neuroscience findings on human perception and cognition, have precipitated a mass transformation of psycho-social behavior.

With contributions by Michael Baers.

Clouds are, narratively speaking, some tricky things. They are both full and empty. They are vacant and shifting, a site of tension between the material and the immaterial, the perceptible and the invisible. Clouds is also the title of German artist Esther Kläs’ first monograph, which spans over 15 years of sculptures, drawings, and performances. As an organic rendering of a complex practice, this book mirrors both the formal impact of each artwork and the conceptual outreach of a collection of gestures, attitudes, movements, and moods happening around the works. Because Esther’s practice has no tight borders or hard edges. Each piece escapes definition and breaks loose from the patterning power of language. Still, regardless of the medium, everything Kläs does seems to have a common denominator: it is a reiteration of a way of thinking – her way of thinking – through a body in space – her body, as well as a social body.

With four commissioned contributions (Marc Navarro with Ester Partegàs, Julie Boukobza, Chloe Chignell, and Francesco Pedraglio) and six short, loose texts edited by Elena Tavecchia and Kläs herself, the book is a canvas whose patterns shift following the artist’s elaborated work. What stays hovering in the air are sparks of decisions, constant movements, recurrent repetitions, and propositions.

A special edition issue curated, designed and published by AVARIE, Paris and Labor Neunzehn, Berlin. It accompanies KAMERA SERIES, while it is an independent and valuable object to collect. The central idea that informs and directs the booklets’ montage is the interplay between the concepts of addition and subtraction. This is achieved by unveiling a missing image in the screening or an unreleased second from an artist's film, expanded to 24 pages. Additionally, each booklet contains a piece directly removed from the show.

The editing establishes a dialogue between film frames and performed writings derived from texts, scripts, storyboards, and notes. The KAMERA exhibition is consequently extended into a physical space—the book—allowing for its widespread dissemination, complementing and contrasting with its potential online occurrence.

KAMERA SERIES is a screening program of experimental films, video art works and printed matter taking place in a former GDR building in Berlin. Each event showcases a retrospective of selected films by an artist and a small exhibition of his/her publications or works on paper over a span of 4 days.

KAMERA centers on fostering a critical dialogue between different film formats and artists’ books. Through its regular occurrence, it aspires to create a space for community exchanges about contemporary image-making. KAMERA is a series conceived and curated by Labor Neunzehn and AVARIE.

Fascinated by the intersection of visual art and cinema, Helga Fanderl’s short poetic films evoke intense and sensitive experiences of the real world. Using a small hand-held super 8 camera, she creates filmic responses to her perceptions, weaving together imagery and emotions in dense, rhythmic patterns solely through in-camera editing. She presents silent films in the form of ‘compositions’, crafting unique programs for site-specific personal projections and transforming spaces into temporary cinemas.

Peter Downsbrough (New Jersey, US, 1940) lives and works in Brussels (Belgium). Associated with major international art movements such as minimal art, conceptual art, and visual poetry, his work spans across various mediums including sculpture, wall pieces and room pieces, books, work on paper, photography, film, and video. The work, which has affinities with architecture and typography, explores the traditional use of space and language, while criticizing power structures, e.g. urbanism, that influence social interactions and shape the landscape.

A special edition issue curated, designed and published by AVARIE, Paris and Labor Neunzehn, Berlin. It accompanies KAMERA SERIES, while it is an independent and valuable object to collect.

The central idea that informs and directs the booklets’ montage is the interplay between the concepts of addition and subtraction. This is achieved by unveiling a missing image in the screening or an unreleased second from an artist's film, expanded to 24 pages. Additionally, each booklet contains a piece directly removed from the show.

The editing establishes a dialogue between film frames and performed writings derived from texts, scripts, storyboards, and notes. The KAMERA exhibition is consequently extended into a physical space—the book—allowing for its widespread dissemination, complementing and contrasting with its potential online occurrence.

KAMERA SERIES is a screening program of experimental films, video art works and printed matter taking place in a former GDR building in Berlin. Each event showcases a retrospective of selected films by an artist and a small exhibition of his/her publications or works on paper over a span of 4 days.

Death Book is dedicated to Bruce LaBruce’s archive of rarely published or previously unpublished work characterized by morbid fascinations. Here photographs challenge the viewer to explore what lies beneath the veneer of Western society.

The book brings this body of work together for the first time, combining LaBruce’s performances, actions, film production stills and photography that explicitly outline his obsessions, with never-before exhibited archival works from projects including Hustler White, Otto; or Up with Dead People, and L.A. Zombie.

The book is edited as loosely connected vignettes, characterised by horror, the carnage accelerated rather than overcome, questioning existing values, hierarchies, and perceptions of good and evil. A variety of faces and body parts appear, including those of actors Francois Sagat and Tiger Tyson, model/actor Tony Ward, artists Kembra Pfahler and Slava Mogutin, and cameos by legendary figures such as performance artist Ron Athey, musician/artists Genesis P-Orridge and Lady Jaye, artist Dash Snow, actor Brad Renfro, Asia Argento and Bruce LaBruce himself.

The Death Book also introduces the art director Max Siedentopf, who has designed the book as a paraphrase of the Bible, punctured with three bullet holes, piercing the book from front to back. The book contains an introduction by artist, photographer and writer Slava Mogutin.

This special, limited-edition issue of Plaster celebrates Akomfrah’s commission for the British Pavilion at the 60th International Art Exhibition, La Biennale di Venezia. The linen presentation box contains: an essay by Akomfrah’s long-time friend and collaborator, the BAFTA-winning film curator June Givanni; an interview with Akomfrah by Harriet Lloyd-Smith; original portraits by photographer Siam Coy and a fold-out poster featuring an exclusive still from Akomfrah’s film installation, Listening All Night To The Rain, now screening in the British Pavilion at the Venice Biennale.

With creative direction by Constantine // Spence and design by Emma Ralph.

Salvation is a previously-unpublished artist book by Jimmy DeSana that he conceptualized shortly before his death in 1990. The publication contains 44 of the artist’s late photographic abstractions that quietly and poetically meditate on loss, death, and nothingness. Depicted within the works are images of relics, body parts, flowers, and fruits that DeSana altered using collage and darkroom manipulations to create pictures that are both intimate and other-worldly. Salvation provides a nuanced and sophisticated counterpoint to the prevailing work around HIV/AIDS at the time, which tended to favor bold political statements.

Variations of many of the works in this book were first presented at DeSana’s last show with Pat Hearn Gallery in 1988. Shortly thereafter, the artist began assembling a maquette of Salvation, using black and white images as place holders for the color works that he intended to comprise the final layout of the publication. Sadly, he was unable to fully realize Salvation in his lifetime, but on his deathbed, he dictated instructions to his longtime friend Laurie Simmons for completing the work; instructions which she noted on each page of the single-copy maquette. With these notes, Simmons was able to match extant slides  and sequencing. Simmons’ studio chose color gels from DeSana’s archive for each corresponding black and white image in the assembly of the publication. Thankfully, due to this recuperative work, Salvation—long-considered to be DeSana’s last major work—is now available for the first time, with every step taken to honor and embody DeSana’s original vision.

Jimmy DeSana (1949-1990) grew up in Atlanta, GA, and received his bachelor’s degree from the Georgia State University in 1972 before relocating to New York’s East Village in the early 1970s. Recent solo and two-person exhibitions include The Sodomite Invasion: Experimentation, Politics and Sexuality in the work of Jimmy DeSana and Marlon T. Riggs, Griffin Art Projects, Vancouver, Canada, 2020, and Remainders, Pioneer Works, Brooklyn, NY, 2016. DeSana’s work can be found in numerous public collections including the Institute of Contemporary Art, Boston, MA; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Chicago, IL; Museum of Fine Arts, Houston, TX; Museum of Modern Art, New York, NY; and the Whitney Museum of American Art, New York, NY, among others. A major retrospective of DeSana’s work was exhibited at the Brooklyn Museum, New York, in 2022, accompanied by a catalogue co-published by the Brooklyn Museum and DelMonico Books.

A complete survey of the cast, forged, and fabricated metal sculptures made by Danish artist Sidsel Meineche Hansen since 2017.

The artist's practice addresses the industrial complex of virtual and robotic bodies and their relationship to labor in tech, pornography and gaming. While some sculptures were conceived as individual pieces, others were created with digital counterparts within installations that typically include CGI animation, documentary video, drawing and prints.

By presenting the metal works as stand-alone pieces, this book adheres to Meineche Hansen's concern with the material means of production, highlighting their concrete yet elusive nature. Several pieces in the publication are accompanied by poems written by artist Diego Marcon in response to the works. As an artist's project and an archival document, the publication echoes the tradition of documentary photography devoted to sculpture.

Sidsel Meineche Hansen (born 1981 in Denmark, lives and works in London) is a Danish artist. She produces exhibitions, interdisciplinary seminars and publications that foreground the body and its industrial complex, in what she refers to as a "techno-somatic variant of institutional critique". Meineche Hansen questions the body in the field of industrial representations: robotic or virtual bodies, and their relationship with the working world of industries of gaming, pornography, and new technologies. Her research-led practice has taken the form of woodcut prints, sculptures and CGI animations, often made by combining her own low-tech manual craft with outsourced, skilled digital labour.

Edited by Fredi Fischli and Niels Olsen.
Poems by Diego Marcon.

Itinéraires Fantômes is an oracle deck created by Alexandra Grant with Hélène Cixous in celebration of H. Cixous' work.

The Itinéraires Fantômes deck consists of 72 cards in six categories: animots, creatures, and entities that include Those from Below, Those from Above, Those Who Fly/Steal, who travel via Portals, manipulate Messages and Symbols, and have Superpowers. The cards are accompanied by a booklet in English and French.

The images on these cards come from family, friends, and artists who have been inspired by Hélène Cixous' writing. Artists include: Adel Abdessemed, Pierre Alechinsky, Sara Barker, Gabrielle Berger, Louise Bourgeois, Leonardo Bravo, Maria Bussmann, Sarah Cain, Lewis Carroll, Bertrand Charneau, Maria Chevska, Michael Kennedy Costa, Laura Darbutaitė, Tacita Dean, Edgar Fabián Frías, Jeffrey Gibson, Francisco Goya, Alexandra Grant, Mathew Hale, Simon Hantaï, Johanna Hedva, Roni Horn, Victor Hugo, Hanna Hur, Franz Kafka, YeRin Kim, Lynn Marie Kirby, Jean-Jacques Lemêtre, Colin Lemoine, Laure Prouvost, Elsa Prudent, Addy Rabinovitch, Keanu Reeves, Cindy Rehm, Saranya Siegel-Berger, Shinique Smith, Nancy Spero, Luc Tuymans, Unyimeabasi Udoh, Roger Viollet, Anna Winger.

The reading score for the presentation at rile*books on Sunday June 23, an A to Z of Indexing / Organising / Cataloguing BFTK for Two Voices.

Transcribed from previously unpublished text-sound transcripts, the edition also brings together selections from Greenham’s aphorisms and 50 words-stories and a fragmentary pre / post-script from documents in the Lily Greenham Archive, and is accompanied by an epistolary insert from sound poet Larry Wendt.

Greenham was an artist / composer / writer / performer and inventor of the term ‘lingual music’. This launch is part of a two-day symposium that coincides with the exhibition ‘Lily Greenham: An Art of Living’ at the Badischer Kunstverein, the first large-scale retrospective of her work.

Written in response to three “physical” photographs, ‘Broken Villas’ contains and considers how a vessel might clasp tightly to known volumetric identities, but also loom with a set of accentuated clues towards otherness: the excavated seams in the earth and what we fill those holes with, imaginary or otherwise; the glacial erraticism of the boulder; the queer crimping of a hotel pillowcase; the modes via which objects are housed as display, but also packaged away, with sorrow, with fear, with erotism etc.

The text by Hiller navigates the boundaries between art, anthropology and psychoanalysis in relation to her installation at the Freud Museum in 1994 titled At the Freud Museum. Accompanying images included throughout from Book Works UK archive, the commissioner of the artwork and talks that this text is edited from.

Despite having been active for only four years before passing away at the young age of twenty-four, Christopher D’Arcangelo (1955–1979) is a key, though lesser-known, figure of 1970s Institutional Critique in New York City. Even generations later, D’Arcangelo’s singular approach remains wholly unique in its radicality and generosity. This first estate-approved monograph illuminates his momentous practice after many decades of limited access to the materials surrounding it.

The publication also includes new contributions from figures who have punctuated D’Arcangelo’s practice—such as Peter Nadin, Daniel Buren, Louise Lawler and Janelle Reiring—as well as photographic contributions by artist Heji Shin and a new text by Nicholas Martin.

Cecilia Vicuña created Saborami in the aftermath of the September 1973 military coup in Chile. Combining poetry, journal entries, documentation of artworks including assemblages and paintings, the book was published in Devon, England in an edition of 250 hand-made copies by the artist-led Beau Geste Press. It was one of the first artistic responses to the violence of the fascist junta.

In recent years, Vicuña has gained increasing renown, including a retrospective at Kunstinstituut Melly (FKA Witte de With, 2019) and installations at the Guggenheim (2022); and Tate Modern (2023). Saborami is one of her most important works, made at a turning point in her life and career, and reverberating through to the present day. Though the book is highly regarded, it has also been hard to access. This new, expanded facsimile edition remedies this oversight, and restates Saborami as a central example of artistic engagement in material and revolutionary resistance.

Engaging obliquely with the legacies of surrealism, contemporaneous experiments in concrete poetry and the British conceptual art practices of the 1960s and 1970s, Saborami is part of an exilic and internationalist tradition. Years ahead of her time, Vicuña outlines an eco-socialist and feminist vision in the face of defeat.

Coinciding with the fiftieth anniversary of the book’s original publication and of the coup in Chile, this expanded edition contains a new introduction by art historian and curator Amy Tobin and poet and writer Luke Roberts. It includes rarely seen archival material from Vicuña’s time in London, such as contributions to the feminist newspaper Spare Rib, commentary from BBC coverage, and her role in Artists for Democracy in Chile and other solidarity campaigns.

A Book Knot Book is a 208 pages long performance, the first from the research and publishing initiative Body Text. In this study of language in action systems of meaning-making crash, sparkle and swoon. In a playful voice over A Book Knot Book self-reflects on the materialities and choreographies of publishing, reading and writing. With guest stars in fragments; Monique Wittig, Yvonne Rainer, Cristina Rivera Garza, Amiri Baraka, Will Rawls, David Abram, Thich Nhat Hanh and more. 

Edited and designed by Sara Kaaman. Published with the support of Stockholm University of the Arts.

This publication is presented as an object-book-manifesto of a ‘desespiegles’ way of thinking. It “translates” the trains of thought that architect-artists Anne Philippe and Jolien Naeyaert exchanged via videoletters. The videoletters mainly occurred during the covid period. Questioning the scope of the addressed images, these exchanges revealed a play of symmetries. It shows a series of interrogations, linking the intimate with the collective. The move towards a publication was obvious after conversations with Loes, Phyllis, An and Teresa of nadine. The desire to activate reading in a performative way, mirrors the exchange of videoletters. It continues the process-based methodology that inventively gave birth to a publication through the physical manipulation of the work. The riso-technique proved particularly suitable for this project, as the hands, the gaze and the exchange all played a role during the object-making process.

Dannie.n is an art-zine, published by nadine, about the artistic research, themes, and topics of discussion of the artists involved in nadine. nadine invites an artist or collective to create each new edition.

Dannie.p is a limited-edition artist's book by desespiegles (57 copies). nadine is supported by Vlaamse Gemeenschap, VGC, Brussels Hoofdstedelijk Gewest.

Ant Farm, the conceptual architectural practice turned art collaborative, is known for such distinctive works as House of the Century (1971–73), Cadillac Ranch (1974), and The Eternal Frame (1975).

Of equal notoriety is Media Burn, Ant Farm’s legendary 1975 performance, in which a radically customized Cadillac was driven through a wall of burning television sets. Media Burn: Ant Farm and the Making of an Image is a vibrant assessment of the complex set of cultural references and art-making strategies informing this collision of twentieth-century icons.

Author Steve Seid (Berkeley Art Museum and Pacific Film Archive) probes the little-known critical backstory of this bold performance (and resulting video work) and its irreverent effort to mount a subversive critique of media hegemony while reimagining the core meaning of performance itself.

Media Burn: Ant Farm and the Making of an Image examines car culture, image proliferation, and radical architectural practice, and offers a close read of Media Burn’s numerous texts, speeches, ephemera, and artifacts.

In banana boxes, Maxime Le Bon collects and stores a lot of documents in a jumble. Most of them are printed, cut out from newspapers, magazines, old publications, erratas and other fragments of texts. Added to this are drawings that he improvises - some of them torn or stained that he don't want to display or throw away. This collection of heterogeneous items is then being rearranged and slipped into plastic pockets where he stores them. Unstable and in constant change, this improbable archive grows with the years. It sedimented layers of experiences and constitutes this heterogeneous deposit from which can emerge all sorts of fragmentary narratives and accidental arrangements. The publication ZILCH brings together a selection of images from this extensive archive.

Dead Minutes is a storytelling game about systemic change in an undesirable afterlife. You, the players, will decide what this hell, underworld or land of the dead is like, what its problems are, how change happens there, and what the complications might be when altering something so big, involving so many dead people, over so much time. It’s a game about impossible seeming actions at impossible seeming scales, making difficult choices, and dealing with unexpected outcomes.

The first half of this book gives you everything you need to play a session of Dead Minutes, which takes 2-5 hours with 3-6 people.

The second half features an essay by Patricia Reed that expands on the concepts of heuristic fictions and vital zombies in relation to the afterlife, and a series of afterlife generating 'seeds' contributed by different types of writers - a demonic boardroom presentation by writer and art critic Habib William Kherbek, a ritual from horror game designer Samuel Clarice Mui Shen Ern, a premise by Arthur C Clarke award winning author Chris Beckett, and a letter from Selma Selman.

What do you call a memoir that isn’t? In This Is Not a Memoir, Janette Parris incisively narrates a journey through lost high street landmarks of East and South London in a series of detailed artworks blending map, archive and anecdote with deadpan humour. Part graphic novel, part recollection, and accompanied by an in-conversation between Janette Parris and Gilane Tawadros, this is an intimate exploration of what it means to have ownership of public space, from Wimpy to Woolworth’s via Canning Town. And somewhere in the gaps, in absent moments caught gazing at the sky or a kerbside, an impression of a life emerges–or is that just what she wants you to think?

“This book by Janette Parris tells a deflationary yet expressive coming-of-age story in the East End of London. While it may seem fun and superficial, its considerable power lies in how it moves through memories and moments in a witty and light-footed way presented as a roman-à-clef. This Is Not a Memoir is particular in the way it conjures a world of the 1970s and 1980s that is lost to most of London, yet still resonates with what it means to grow up as a working class young woman who ends up at art school and becomes an artist. It is a brave book to make, but one that will be remembered.”
— Rachel Garfield, artist, Professor of Fine Art at the Royal College of Art and author of Experimental Filmmaking and Punk: Feminist Audio Visual Culture in the 1970s and 1980s (2021)

Janette Parris is an artist who investigates the contemporary urban experience, using narrative, humour and popular formats including soap opera, stand-up comedy, musical theatre, pop mu-sic, cartoons, comics and animation. Parris has exhibited widely nationally and internationally for 25 years at spaces including TATE, The New Art Gallery Walsall, ICA, Kunsthaus Zürich, Hay-ward Gallery Touring, Art on the Underground and Royal Academy of Arts.

This publication is a compilation of Lee Lozano’s notebooks from 1967 to 1970. The three notebooks included here contain her seminal “Language Pieces” and drawings for her paintings, including 12 studies for her 11-panel masterpiece, “Wave Series.”

Lee Lozano (1930-1999) was an enigmatic artist making a diverse body of drawings, paintings, and conceptual works. While prolific, her production was limited to her time in New York from the early 1960s to the early 1970s. She was very actively engaged with other artists in New York until she decided to leave the art world in 1972. Until recently, much of her work has been difficult for the public to access. From the time of her boycott of the art world until her death, Lozano was an artist working conceptually even though she did not participate actively in the commercial art world for the last three decades of her life.

The pages of the notebooks contain notes and sketches related to her abstract paintings and also contain her texts, which were known as “Language Pieces.” The artist’s work in the books reveal her desire to live and create art within a structured system. Lozano considered the individual pages of her notebooks to be drawings, and they were sometimes separated and exhibited. Twenty-five years ago, the notebooks were photocopied and it is that record which serves as the basis for this book.

Notebooks 1967-70 was first published by Primary Information in 2010. This is the second printing.