Spaces of Commoning: Artistic Research and the Utopia of the Everyday is the outcome of a research project pursued by a group of artists, architects, and social theorists.

In this collection of essays, art historian and critic Sven Lütticken focuses on aesthetic practice in a rapidly expanding cultural sphere. He analyzes its transformation by the capitalist cultural revolution, whose reshaping of art’s autonomy has wrought a field of afters and posts.

Titled "Polyphonic Worlds: Justice as Medium," the eighth Contour Biennale in Mechelen, Belgium, addresses the nation-state system and the realm of justice today.

This collection of more than thirty texts, which were originally published between 1790 and the present day, explores man’s rich relationship with material things.

Oskar Hansen’s (1922–2005) theoretical concept of “open form” was developed in the context of international debates around late-modern architecture in the 1950s.

The artist’s book Ki-da Rilke evolved in relation to the exhibition “Line Wall” by Sung Hwan Kim.

Based on the findings of an interdisciplinary research project, Transcultural Modernisms maps out the network of encounters, transnational influences, and local appropriations of an architectural modernity.

This book is both a question and a manual, collecting ideas, knowledge and experiences that stem from the theory and practices developed over the past few years.

Speculative Drawing presents fifteen books—from monographs and translations to collections of essays—that emerged from the research platform Speculative Poetics, conceived by Armen Avanessian in 2011. This book gives a somewhat different introduction to contemporary speculative philosophy, raising questions on how thinking works and how thinking occurs in drawings or illustrations. How does a poetic thinking work that's not about but with art?

The work presented in this book is an invitation to undertake an urgent architectural and political thought experiment: to rethink today’s struggles for justice and equality not only from the historical perspective of revolution, but also from that of a continued struggle for decolonization; consequently, to rethink the problem of political subjectivity not from the point of view of a Western conception of a liberal citizen but rather from that of the displaced and extraterritorial refugee.

Initiated by Keren Cytter and co-edited by Fiona Bryson and Roger van Voorhees, the quarterly publication focuses on three experimental writers or poets per issue—image content is supplied by one artist.

The “Poetic Series” brings together works of poetry and literature in combination with visual art, introducing young as well as established writers concerned with challenging the boundaries of traditional forms of narrative. Initiated by Keren Cytter and coedited with Fiona Bryson, the quarterly publications focus on three experimental writers or poets per issue—image content is supplied by one artist.

The essays originate in talks given on the occasion of an international conference on “Aesthetics and Contemporary Art” (2008).
(Engl.)

This collection of art and theory analyzes today’s post-digital conditions for critical media practices—moving across and beyond the analog and the digital, the human and the nonhuman.

Assign & Arrange: Methodologies of Presentation in Art and Dance aims to map the exchanges and transgressions between art and dance that characterize the manifold variety of relations between art and dance that can be observed today.

While ecology has received little systematic attention within art history, its visibility and significance has grown worldwide in relation to the pressing threats of climate change, global warming, and environmental destruction.

Can certain art forms—such as performance art—suggest ways in which we might be intelligent without being serious?

The original ideals of the Enlightenment research university and the rise of aesthetics in modernity have been decisive in shaping neoliberal capitalism. How, then, might we endeavor to change the academic status quo?

Five essays that take an intimate look at what language’s role is in moments of dramatic change, and how to find meaning for artistic practices in these transformative conditions.

Connecting to hospitality and its import on the island, the project attempts to preserve local heritage, foster the arts, and to stimulate an entrepreneurial culture of art and design as well as international dialogue.

Seit den frühen achtziger Jahren hat Peter Friedl zahlreiche Texte geschrieben. Sein jüngstes Buch Die Heimliche Moderne. Ausgewählte Texte und Interviews 1981–2009, herausgegeben von Anselm Franke, präsentiert erstmals eine umfassende Auswahl, ergänzt durch Interviews und Gespräche unter anderem mit Roger M. Buergel, Stefan Germer und Jean-Pierre Rehm.

The Incidents is a series of publications based on events that occured at the Harvard University Graduate School of Design between 1936 and tomorrow.

Following the 2015 exhibition “Florian Hecker/John McCracken” at Künstlerhaus, Halle für Kunst & Medien Graz, this publication probes the experimental capacity of the white-cube space of the gallery. For the exhibition, two complementary yet autonomous artists were brought into dialogue with each other: German artist and computer composer Florian Hecker, and the late American sculptor John McCracken.

Martin Herbert’s The Uncertainty Principle is a collection of essays that reveals layers of unknowing and open-endedness within a diversity of contemporary art practices since the 1970s.

In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement.

This catalogue accompanies Taylor’s exhibition “The Story of Stripes and Dots (Chapter 5)” at Fogo Island Gallery (September 27, 2013–March 23, 2014), which follows his two-part residency with Fogo Island Arts in 2010 and 2012. Featuring essays by Zoë Gray and Saelan Twerdy, and Taylor in conversation with Patrick Staff and Robin Simpson, the book also presents the artist’s portfolio An Index Describing the Individual 19 Thoughts about Stripes and Dots Arranged on a Vitrine Made of Brass and Glass.

Internal Necessity was the topic of the Sommerakademie 2009, curated by Tirdad Zolghadr.
(Engl.)

The Imagines is based on the texts of four writers that each engage with a recent project by Ines Lechleitner.

This catalogue-reader accompanies Armando Lulaj’s project for the 56th Venice Biennale. Curated by Marco Scotini, Lulaj’s exhibition in the Albanian Pavilion is a time capsule of the country’s past, presenting strange memorabilia and trophies that tread the line between fact and fiction.

This publication—which includes key project materials, scholarly essays, and significant historical texts—chronicles the aspirations, methods, and projects of the first four years of Public Design Support.

Das Ausseerland und die mancherorts unzugängliche Landschaft im Toten Gebirge kennen eine bewegte politische Geschichte.

Hannah Rickards’ Grey light. Left and right back, high up, two small windows is a two-screen projected video installation with eight channels of sound.

In 1987, Peter G. Rowe published his pioneering book Design Thinking. In it, he interrogated conceptual approaches to design in terms of both process and form.

This is the Catalouge to Kevin Schmidt’s installation and film EDM House (2013) which transforms an abandoned homestead in the interior of British Columbia, Canada, into a meeting place of the urban and rural.

With examples of unexpected collectors and serendipitous outcomes, Mari Shaw investigates the obscure desires that shape art collecting and the public goodwill that results from it.

Published to accompany the artist’s survey exhibitions at the Van Abbemuseum, Eindhoven, and the Institute of Modern Art, Brisbane, Too Much World gathers a series of essays and close readings of Steyerl’s films from the past ten years.

This catalogue accompanies Taylor’s exhibition “The Story of Stripes and Dots (Chapter 5)” at Fogo Island Gallery

This Book was published on the occasion of the Cyprus Pavilion at the 56th Venice Biennale.

In 2010/11, a group of Vienna-based art practitioners (artists, art historians, and cultural theorists) embarked on a journey of experimental research, exploring the genealogical and political implications of the ways in which research rhetorics and policies are currently incorporated into the fields of contemporary art and art education. Troubling Research: Performing Knowledge in the Arts, a collection of “books” of essays and conversations, is the quirky and exhilarating outcome of this collaborative endeavor to render a “problematization” by interrogating the very conditions of the current upsurge of the art/research articulation.

This collection of essays does not aim to illustrate a prefabricated theory of art, but rather follows the impulses given by artworks themselves.

Dysfunctional Comedy documents a series of public events, performances, and workshops conceptualized by German-American artist Olav Westphalen and organized with different partners, mainly in Sweden, between 2012 and 2015.

In this volume, the fourth in the series Helge Mooshammer and Peter Mörtenböck analyze the networked spaces of global informal markets, the cultural frontiers of speculative investments, and recent urban protests, and discuss crucial shifts in the process of collective articulation within today’s “crowd economy.”

After the first EP volume on the activities of the early Italian avant-garde, the second volume in the series identifies the current fascination with fiction across art, design, and architecture.

Addressing the current upswing of attention in the sciences, arts, and humanities to the proposal that we are in a human-driven epoch called the Anthropocene, this book critically surveys that thesis and points to its limitations.

Within this quest to consider art differently, Jorella Andrews and Simon O’Sullivan pay attention to the asignifying character of art, or simply its affective qualities. Drawing on the work of key thinkers (for O’Sullivan, the writings of Gilles Deleuze, Félix Guattari, and Jean-François Lyotard) and turning to paradigmatic works of art (for Andrews, film and video pieces by Rosalind Nashashibi and Jayne Parker), they contextualize these art-related matters in relation to a significant recent rise in new thinking about objects, objectness, and objectivity within philosophy, critical theory, and ethics.

Astrid Schmetterling and Lynn Turner focus on distinct films—a series of short meditations on the September 11, 2001, attacks commissioned by Alain Brigand and collectively titled 11’09”01 – September 11 (2002), and Richard Linklater’s Tape (2001). Through the medium of these works they investigate contemporary questions regarding the ethics of recollection and memorialization within visual culture.

Katarina Taikon was an epoch-changing activist, prolific writer, and countercultural icon in Sweden. Her activist work brought her face-to-face with the most marginalized communities in society as well as prime ministers.

Based on a symposium at the Department of Sculpture – Transmedial Space, University of Art and Design, Linz, Austria,Sculpture Unlimited captures the breadth of the contemporary discussion around sculpture.

In 1831 Honoré de Balzac wrote a short story, “The Unknown Masterpiece,” in which he invented the abstract painting.
(Engl.)

Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent.

This artist book is published on the occasion of the exhibition at the Ursula Blickle Stiftung, “The Units,” from May 29 to July 10, 2011.

Sam Thorne’s School: A Recent History of Self-Organized Art Education is a chronicle of self-organized art schools and artist-run education platforms that have emerged since 2000.

Following Everything You Always Wanted to Know About Curating But Were Afraid to Ask, this second volume in the series on international curator Hans Ulrich Obrist presents a selection of his key writings from the past two decades, which elaborate on the manifold thinkers, curators, and events that influence his interdisciplinary practice of exhibition making.

Two Degrees of Separation accompanies the eponymous exhibition by Tony Conrad at Kunsthalle Wien.

In Douglas Coupland's writing, the doldrums of a world afflicted by the pains of dotcom booms and busts, the ascendency of subcultures to pop cultures, and the subsequent struggle for identity are counterbalanced by droll, personal, and incisive analyses. This collection of nonfiction essays provides an illuminating meander through what we call culture today.

Can we speak of composition when we are in a state of unfathomable decomposition?

An incomplete guide for life. Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold.

In the fall of 2013, Dan Graham and Mieko Meguro traveled with Donatien Grau to a town in the French Alps to meet Michel Butor, one of the foremost innovators of postwar literature. This is their conversation.

In cooperation with the Academy of Fine Arts and the University of Applied Arts, the Kunsthalle Wien Prize is awarded for outstanding final projects at the two universities of art in Vienna.

Addressing a perceived gap in existing literature on the subject, the series focuses on three broad strands: the issue of temporality, the role of contemporary media and computational technologies, and how artistic practice makes epistemic claims.