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The book Superior and Inferior presents a facsimile reprint of Carla Accardi’s provocatory publication Superiore e Inferioreand the first ever English translation of the full text.First published in 1972 by Italian abstract artist and feminist Carla Accardi (1924–2014), the book Superiore e Inferiorefeatures discussions among girls at a middle school – all between 10 and 13 – about society’s discriminatory behaviourtowards women. They also commented the Manifesto of the revolutionary feminist group Rivolta Femminile – collectivelywritten by Accardi, art critic and feminist activist Carla Lonzi, and Elvira Banotti – which first appeared posted on city wallsin Rome in July 1970. For having discussed sex-related issues with pupils, Accardi was fired and permanently suspended from teaching. (Herletter of dismissal issued by the Italian Ministry of Education forms part of the introduction to the book.)Along the lines of Pasolini’s Comizi d’Amore (Love Meetings), Accardi’s own voice is secondary in the book, giving way tothe thoughts, narratives, opinions, and debates expressed among girls on the role of women and girls, family conflicts andintimate relations.

(…) It could be linked to something like responsibility, in the sense that, when you create a work, you’re the only person responsible for its existence vis-a-vis a third party, or an audience. You are simultaneously also responsible for an ideology, because a work is still a position with respect to the real and is therefore an ideology. Whereas the act of reducing oneself to a pathetic state makes you irresponsible. You put responsibility on the shelf. I was drunk, so I acted like an idiot. I’m forgiven. I had the right to act like an idiot. (…)

Time is a fundamental dimension of the work of Giuseppe Gabellone, and it resonates in all the works shown at the GAMeC in Bergamo. In his photographs and sculptures - the two main media around which Gabellone has developed his language stretching the conventions and possibilities of both - time takes on forms that are not easy to grasp, in spite of the clarity that sets his image apart. It is a time that is simultaneously specific and extraneous; an absolute and present time, but one that goes beyond the contemporary; a time anchored in experience, yet also transcending it.

Vice Versa, the catalogue of the Italian Pavillion at the 55th venice Biennale, explores the complexity that characterises Italian contemporary art. The book is divided into seven chapters, one for each pairing, that present the work of two artists with a critical text, a wide selection of images of the works, technical specifications and information on the artists' research.

This book, edited by Katja Schroeder and containing a conversation between the artist and writer Ana Pinto, documents David Jablonowski's recent and early works, including his outstanding exhibition in the botanical garden of Munster in cooperation with Westfalisher Kunstverein in 2012.

Edited by Fionn Meade, The Assistants originates as the visual and conceptual companion of the exhibition organised at David Kordansky Gallery, Los Angeles. Featuring original contributions together with rarely seen works, the publication is animated by Uri Aran, Nairy Baghramian, Matthew Brannon, Andrea Buttner, Rosalind Nashashibi, Adrian Piper, Laure Prouvoust, Slavs and Tatars, Mierle Laderman Ukeles, and Cathy Wilkes.

This is the first comprehensive monograph on the work of Italian artist Massimo Grimaldi. "In the space of just over a decade, Massimo Grimaldi has developed an artistic practice that seems based on an apparent contradiction: producing art as a way of saying that, in the end, art is a trivial matter, and its role in the real world is superfluous. On more than one occasion-above all, through his text based works-Grimaldi has presented an image of art as a self-serving activity that springs from the desire to "be" and is fuelled by the ambition to "endure. "

The publication “. and the figtrees in the Alameda gardens” brings together three of Nina Danino’s early 16mm films—First Memory (1980), Close to Home (1985), Stabat Mater (1990)— which are related to Gibraltar as a real place, and as an imagined geography and history. The publication includes the artist's recent work Meteorologies (2013). The book is published on the occasion of Nina Danino's solo exhibition “. and the figtrees in the Alameda gardens” at the Garrison Library, a magnificent library in Gibraltar—established in 1793. Since then, the venue, with its fine collection of rare books and documents, has been a centre of international cultural life in Gibraltar. Nina Danino’s films are part of the history of British artists’ film and are listed in many UK anthologies. They are also in BFI National Film and Television Archive public collection. Danino uses image and sound to evoke emotional landscapes; she is renowned for her soundtracks and the use of the voice in film. The books presents the artist's personal archive, showing her working methods and the act of research. Nina Danino ( b. 1955; Gibraltar) graduated in Fine Art, Painting from St Martin’s School of Art (1977) and Environmental Media from the Royal College of Art (1981) London.

Catalogue of the exhibition cycle initiated by CAC Brétigny around the notion of 'mediation' of works of art (with David Lamelas, Benoit Maire, Dominique Petitgand, Giasco Bertoli, Robert Breer, Esther Ferrer, Felix Gonzalez-Torres, Ben Kinmont, Jirí Kovanda, Martha Rosler...).

Published in coordination with the artist's first solo show in an Italian art institution, the catalogue "Nervo Vago" takes the form on an anthropological essay composed of multiple contributions, offering different perspectives on the concepts and contingencies that lie behind the practice of the young Italian artist Nicola Martini.

In the spring of 2007, in New York, as part of an exhibition organized by Gavin Brown's enterprise, Nick Mauss and Ken Okiishi produced One Season in Hell, an installation whose point of departure was Arthur Rimbaud’s famous extended poem Une saison en enfer. By using Google’s online translation app to obtain an English version of the original text, Ken Okiishi first of all appropriated it and peppered it with jokes, puns and references to popular culture, from Karl Lagerfeld to South Park by way of the hairstyles of certain Japanese teenagers and Volvo cars. Nick Mauss, for his part, annotated the text, and then drew on it. In tandem, the artists then published an eponymous book in which these pages were all brought together, in an edition of 500, which was quickly sold out. From 13 May to 14 August 2011, Nick Mauss presented his very first solo show in an institution at the FRAC Champagne-Ardenne. It was in the wake of this exhibition that Nick Mauss and Ken Okiishi expressed their wish to re-issue One Season in Hell, whose outcome both offers us a new way of looking at Rimbaud’s oeuvre and extends their respective praxes in a remarkable way. Co-published with FRAC Champagne-Ardenne.

Published in coordination with the first solo show by Matthew Brannon in an Italian art institution, the catalogue 'In Italy It's Called "Department Store At Night" The Rest Of The World Knows It As "Postcards & Death Certificates" is organised as two independent volumes contraining an unpublished novel by the American writer 'Antelope' an essay by Alan Reid in the form of a set of "imaginary" letters sent to Brannon himself, "Unanswered Letters," and a critical text by the curator of the exhibition and co-editor of the catalogue Alberto Salvadori.

Corin Hewitt’s performative installations use exhibition spaces as sites for production. Integrating process and display strategies, Hewitt offers viewers the simultaneous encounter of an artwork and the action that brought it to be. This book, published after the artist’s exhibition at MOCA Cleveland, brings together the documentation of seven installations, produced from 2007 up to the 2013, including preparatory sketches, process shots, exhibition documentation, and discrete photographic works. This visual mass helps understand Hewitt’s practice as a continuum of interconnected actions and materializations, instances of generative discovery and contextual play.

Published for the exhibition Disposition, this slim but satisfying catalogue is composed of a series of pictures, close ups and words about the two major projects Ai Weiwei has created for Zuecca Project Space within the context of the 55th Venice Biennale.

Collapsing in Parts was conceived as a form of thinking out loud, generating this 'single-take' novella. It was originally written episodically over eight months and published online, as when and however the parts were written.

This publication represents one of the many spaces Doug Ashford's work occupies. It is the first collection of his writings and conversations and attempts to encompass the changing thoughts shared by the artist over the past twenty-five years. Doug Ashford is a teacher, artist, and writer. He has taught design, sculpture, and theory at The Cooper Union, New York, since 1989. His principal art practice from 1982 to 1996 was as a member of Group Material and since that time he has gone on to make paintings, write, and produce other cross-diciplinary projects.

I Work from Home is a survey monograph on American painter Michelle Grabner (born 1962), presenting over 100 works from the past 20 years. The chosen works range from paintings of textile patterns appropriated from household fabrics to her more abstract, metalpoint pieces.

Published in conjunction with Sietsema’s show at Museum of Contemporary Art Denver, Seven Films by Paul Sietsema is the first publication devoted to the artist’s films. In the words of Sarah Robayo Sheridan, “Paul Sietsema compounds organic and artificial detritus in all his artwork, scavenging in history’s wake to identify specific tools of cultural production and foraging for concepts of art promulgated in the words of artists and attitudes of critics. He mines film as a vestige, the medium of the mechanical age, pressing and squeezing its very obsolescence through a contemporary sieve. In so doing, the artist hovers in the switchover between a bodily inscription in the image and a fundamental reconstitution of sight and representation in the matrix of the virtual. Where body stops and image starts is a divide collapsing through a series of innovations and accidents that go back as far as the people of Pompeii trapped in an emulsion that marked their death, but which paradoxically carried forward their image into eternity. ”

Jason Dodge’s practice attempts to give new life to objects, exploring their potential and provoking the viewer’s cognitive ability to imagine a corresponding narrative. Focusing on specific aspects of two works, A permanently open window and Changing the lights – From rose light to white light, from white light to rose light, by hand, over and over, Jason Dodge’s artist book is not merely a documentation of his works but, in the artist’s words, “a record of light changing over a day, in one case naturally and in one case manually”. The publication was conceived and designed to accompany Jason Dodge's permanent installation realized for the Maramotti Collection, in Reggio Emilia – a permanently open window located in what was once the tower of a factory’s electrical power plant, an abandoned industrial space, now transformed into a commercial outlet – and contains selected images from both projects, as well as a text.

Taken at the height of the Assad days, the images of the photographer Giovanna Silva overlap in this publication with Syrian tourist guides' images and texts, creating a net of intended and unintended relationships and time interconnections.

Michael E. Smith occasionally creates drawings as organizational notes for his exhibitions: a to-do list may be intertwined with a sketch outlining an idea for a sculpture, and at times, drawings emerge as impromptu phone scribbles. Over the past fifteen years, Michael E. Smith has accumulated a substantial collection of drawings, largely unpublished until now. To complement the exhibition dedicated to the artist, the Kunst Museum Winterthur is releasing an artist book featuring a comprehensive selection of drawings from this period.

Published to accompany an exhibition at the Nouveau Musée National de Monaco, this volume, which gathers scientific contributions from leading researchers, art historians, along with in situ installation views, pays tribute to the greatest set designer of the modern era. Viewing theater as a total artwork in which choreography, music, costumes and sets were of equal importance, Léon Bakst worked closely with artists such as Serge Diaghilev, Vaslav Nijinsky, Jean Cocteau, Isadora Duncan, Ida Rubinstein and Igor Stravinsky, transforming the perception of the ballet. Designing Dreams: A Celebration of Léon Bakst highlights Bakst’s finest achievements in stage design, while also revealing his decisive influence in the field of textile design. Conceived especially by Nick Mauss, in parallel to the exhibition design, Designing Dreams presents in detail Bakst's drawings, costume and textile designs, previously unpublished writings on ornament and fashion, new scholarship on Bakst’s sources and the impact of his vision, as well as exhibition views of the scenography realized in situ by Mauss.Available in five different colors, cloth covers stenciled by Nick Mauss.

Fiction Non Fiction is a series of readers edited by Bruno Zhu that pairs voices in literary criticism with the material histories of labor, gender, and race. Each volume offers a close reading of fictional and theoretical works to explore how identity politics have been narrativized by liberal institutions across different times and spaces. Volume 1, published in conjunction with Bruno Zhu’s commission License to Live at Chisenhale Gallery, London, delves into the concept of space. Spanning Martinique and colonial Algeria, Jamaican plantations, and 1970s Lisbon, the collection examines the enduring impact of colonial projects that continue to underpin extractive systems today.

Textile Textures: Multithreaded Narratives is a collective volume edited by Marta Kowalewska, an outcome of the international project “Interweaving Structures: Fabric as Material, Method and Message” organized jointly by the Central Museum of Textiles in Łódź, the Faculty of Fine Arts, Music and Design at the University of Bergen, and the Doctoral School of the Jan Matejko Academy of Fine Arts in Krakow. The book’s uniqueness lies in its multi-aspect treatment of the medium of textile, regarded from the perspectives of art, history, anthropology, technology, politics, post-colonialism, museology, curatorship, and fashion, as well as from personal points of view taking shape amidst questions on identity, tradition, craft, collaboration and kinships with architecture, design, and industry. Individual themes are examined in relation to the issue of textile being a tangible medium of memory and a unique language which, by virtue of its nature, interweaves a variety of different themes.

This richly illustrated catalogue is published on the occasion of the group exhibition How Evil Is Pop Art? New European Realism 1959-1966, which stems from the desire to reread the European Pop phenomenon via an encounter between two private collections: the Collezione Giancarlo e Danna Olgiati, and one of the foremost private collections of this artistic current. With 42 works, all of which were executed between 1959 and 1966, the book compares the works of 31 artists, including pioneers of early British Pop such as Peter Blake, Pauline Boty, Allen Jones and David Hockney, alongside some of the major exponents of French Nouveau R alisme, such as Martial Raysse, Jean Tinguely, Niki de Saint Phalle and Daniel Spoerri; and Peter Klasen and Konrad Lueg who represent a radical break from German abstract painting. An important position is occupied by the different groups of Italian Pop art, including famous representatives like Mimmo Rotella, Franco Angeli, Gianfranco Baruchello, Tano Festa, Mario Schifano and Michelangelo Pistoletto, who distinguished themselves for the multiplicity of their languages, as well as for their links with the cultural tradition of their country.

Published on the occasion of the exhibition Tom Wesselmann: La Promesse du Bonheur, curated by Chris Sharp with the scientific coordination of Cristiano Raimondi, held at Villa Paloma in Monaco June 29, 2018, through January 6, 2019, this catalogue is a critical overview of a key American Pop artist and an important opportunity to analyze specific aspects of his work: Victorian and post-Victorian sexuality, female agency, postwar economic abundance, beauty, the erotics of anticipation, the politics of the gaze, and strategies of indeterminacy. Every aspect of the book’s design, including its more than 170 color illustrations, is conceived to reflect on the artist’s haptic, indexical painterly approach and oversize scale system. Through Steven Marcus’s concept of “pornotopia” and the perspective of economy and abundance in postwar American society, the critical essay by Chris Sharp examines Wesselmann’s depictions of the sexual, developed formally in the works by means of hyperbole, hierarchies of elements, elision, and omission. The second critical essay by Sabrina Tarasoff leverages Julian Wasser’s iconic 1963 photograph Duchamp Playing Chess with a Nude, the 1969 “breast action” during one of Theodor W. Adorno’s classes, and more to deliberate the intentional in-betweenness in Wesselmann’s work, “interest” as a category preceding definition, semantic versus formal dimensions, and midcentury sensibilities regarding masculinity and female empowerment.