The Leporello by Sandra Peters is an object playing with a combination of introductory text paragraphs and signature images documenting her work.
Folding and unfolding the pages creates spaces for thinking and reflecting Peters sculptural work which deals with the concept of sensual experiences in two and three dimensions.

This small publication is an edited reprint of the essay ‘The Book in Intermediary Form’ written by Kasper Andreasen. It was originally published in 2011 by Wintertuin, Nijmegen as part of a compilation about the future of the book. The essay argues for a possible scenario leading up to a hypothesis about an audio­visual book. How can artists’ books be audio­visual objects?

In Klara Kayser's water-proof pocket book of poetry, Hygiene, the Düsseldorf-based artist nibbles at the surfaces of our bodies, desires, and ideas and through words constitutes what washes off and what sticks. Kayser's interest in the human body is a theology of slapstick, translating form into a poetic language that hums the dramatic rhythm of a pick-me-up-and-drop-me-low pop song.

This project documents Sudan, the last white rhinoceros of North Africa. Sudan lived his life inside the Prague zoo, before being transferred to Kenya for reproduction and specie preservation. Sudan lives under armed protection.

Contributions from Sabeth Buchmann, Burcu Dogramaci, Noit Banai and Sa’ed Atshan are accompanied by visual and literary material and references from Gal’s extensive research practice.

Maximiliane Baumgartner’s Ich singe nicht für Bilder schöne Lieder (I Don’t Sing Beautiful Songs for Pictures) is the first comprehensive publication that contextualizes and traces her artistic practice of the last four years in relation to the fields of painting, action (space) pedagogy, and critical research on the subject of urban planning.

In addition to texts on the work of Alexander Wolff by Camila McHugh, Nikola Dietrich, Christian Egger, Kerstin Cmelka, Nora Schultz, Ariane Müller, Sabrina Soyer, also an essay by Marcelin Pleynet entitled "Painting and 'Reality’" from 1969 - translated from French into English for the first time.

Independent art spaces on the African continent have flourished, particularly over the past twenty years in tandem with a youthful population in fast-urbanising cities.

"This book results from my interest in the graphic interplay between two- and three-dimensional structures. The 11 possible ways to unfold a cube are laid out on white paper, whereas the seven cuts that make it possible to unfold a cube are printed on transparent paper and related to each of the six sides of each flattened cube. By turning pages, a flow of information is generated to make the viewer aware of the complex interplay of two- and three-dimensional structures." Numbered edition of 250

The currently favored image of the Weimar Republic is constructed as a liberal one that emphasizes the individual freedom to shape one’s life. Meanwhile, the collectivist face of the workers’ movement and the artists inspired by it were and are mostly ignored.

The work of the artist takes as its subject the current neoliberal system and its impact on the individual, as measured under Marxist analysis. It particularly approaches issues such as working conditions, school dropouts, stress-related illnesses, anxiety and loneliness, the housing crisis, and overpopulation as so many causes leading to alienation in our contemporary societies. Also at the heart of his questioning is the analysis of a sense of loss of points of reference, of a form of time distortion generated by these stress conditions. The artist seeks to extract the waking hallucination - the onirism - from these crisis situations

"Healing The Museum" is a mid-career monograph looking at Grace Ndiritu’s diverse practice over the last twenty years, which encompasses performance, film, social actions, painting, publications, textile work, and collection research.

RAW Académie was developed in Dakar to create a space of experimental teaching and collaboration, of deconstruction and exposure, of knowledge and nourishment. Koyo Kouoh, founder of RAW Material Company, wished for curatorial inquiry and critical writing to join artistic thinking at this site of international encounters. During these two-month long sessions that take place twice a year, young artists and curators—the Académie fellows—come from all over the world to be accompanied by faculty members with

Here live the near-blind. In their eyes the city dwells like aureoles on suckling lips. Here they apprehend the city with knowledge viscous and immediate. And here they also live uneasily, for tranquillity is found only in pictures they are disinclined to make.
In essays, letters and aphorisms, this book makes near-blindness tangible as one condition of living in. protracted war.
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A discreet, yet unapologetic, feminist reading of the past and present with a particular focus on deconstructing inherited notions of identity and gender. It seeks to examine the impact these have had on contemporary relational modalities in order to find new capacities to dissect the resulting interpersonal dynamics. There is a wish to pause automatisms that suffocate the mind.