Composition As Publication – And – What Are Margins

The work of Ceija Stojka (1933-2013) is considered today an invaluable testimony on the deportation and the holocaust of the Romani people during the Second World War. For the very first time, this publication considers equal to her graphic work the notes she wrote on the back of her drawings and paintings. Stojka's particular use of language, phonetically adapted from her knowledge of German, is here transcribed and translated into English, while giving access to both sides of her works.

Published on the occasion of the eponymous exhibition at Malmö Konsthall in 2021.

Ceija Stojka was born in 1933 in Austria to a family of Romani horse traders, the Lovaras. She was still a child when the nazi racial laws drove her into the hell of the concentration camps for 24 months. As a survivor, she covered up this trauma with a heavy silence for almost 40 years. In the 1980s, facing other tragic circumstances in her life, the denial of the Romani holocaust and the resurgence of extreme right-wing racist ideas in Austria, she felt an urgent need to testify. She wrote at first, then started to draw and eventually found her way by blending the two as a self-taught artist. She calls upon us, through her visions of childhood, to never turn a blind eye on what happened, and to remain vigilant as to what may emerge again. Ceija Stojka died in 2013 in Vienna.

Edited by François Piron.
Texts by Ceija Stojka, Noëlig Le Roux, Irka Cederberg.
Graphic design: Coline Sunier & Charles Mazé.

A visual and text based investigation led by Moroccan artist Bouchra Khalili during many years following the traces left by the Mouvement des travailleurs arabes, a group fighting for the rights of the Arab workers in France at the turn of the 1970s. 

Khalili focused her attention on the theatre groups Al Assifa and Al Halaka who were created in this political environment. The publication unfolds from The Circle (2023), a video installation shown for the first time at the 15th Sharjah Biennale (2023), at Macba (2023) and at the Luma Foundation (in Arles in 2023-2024 and Zurich in 2025).

The book is published in conjunction with Bouchra Khalili's exhibitions as guest visual artist of the Festival d'Automne in Paris in 2025.

Texts by KJ Abudu, Bouchra Khalili, Mohamed Amer Meziane, Abdellali Hajjat ; interviews with Saïd Bouziri, Hedi Akkari, Smaïne Idri, Mustapha Mohammadi, Philippe Tancelin, Mia Radford, Lucas Yahiaoui.

Eleven performance-based projects by Dora García, documented through letters, emails and other elements from the artist's private correspondence with various interpreters of performances, whether they were direct collaborators of simple spectators.

Edited and prefaced by François Piron, Steal This Book, a tribute to Abbie Hoffmann's pamphlet of the same name, is not a definitive attempt at rendering the pieces on which it is based; it calls for a free, active and contradictory reception, that of an open archive. Part epistolary novel, part rough screenplay and part user's manual, Steal This Book proposes a body of discussions, questions without answers and endless ramblings, in place of the critique's or the artist's voice. 

The book has also been presented in exhibitions as a Dora García sculpture meant to be stolen, but it can also be purchased in selected bookstores worldwide.

Contrary to the idea that would have art addressing the greatest possible number of people, Dora García (born in 1965 in Valladolid, lives and works in Barcelona), best known for her performance devices, is interested in what is enacted at the individual scale: in a radically conceptual form, at once accessible and elegant, she elects to transmit oddly coded messages, their ask being to bestir a specific relation with each and every visitor. Dora García is interested in everything that intervenes in the communication between an artist and his/her public: art no longer represents the world, but itself becomes a producer of realities often on the borderline of fiction and make-believe. It urges us to undergo experiences other than ordinary situations, at once simple and hard to grasp. 

Dora García has had solo exhibitions at the MACBA in Barcelona, the Reina Sofia in Madrid and the SMAK in Gent. She represented Spain at the Venice Biennale in 2011, and was a part of the Skulptur Projekte Münster 07, the Sydney Biennial in 2009, the Biennale de Lyon in 2009 and Documenta 13 in 2012.

This book/catalogue is published on the occasion of the final event of Noa & Snow, a gentle experiment between the everyday and the event, at the Volkskundemuseum, Vienna.

Publication Concept Alix Eynaudi, Goda Budvytytė
Design Goda Budvytytė
Printing Robstolk, Amsterdam
Edition 600 copies
Proofreading Bella Marrin

ENVELOPE Pattern design based on the Lila Dress and its signature cording by An Breugelmans

LE VESTIAIRE
Costumes & objects An Breugelmans Tapestries & trompe-l’oeil Cécile Tonizzo Weaves Lydia McGlinchey Photos taken inside of Jason Dodge’ show Cut a Door in the Wolf at Macro Museum by Carlotta Pierleoni Photos in Vienna Samuel Feldhandler

THEM, PROTEXTIONS
Han-Gyeol Lie, Mette Edvartsen, Lydia McGlinchey, Clara Amaral, Ujjwal Kanishka Utkarsh, Jennifer Lacey, Cécile Tonizzo, Sabina Holzer, Alice Chauchat, Jason Dodge, Joachim Hamou, Quim Pujol, Litó Walkey, Serena Lee, Mihret Kebede

PUBLIC MEDITATIONS
Anne Faucheret, Elizabeth Ward, Kirsty Bell, Tony Just, Sabina Holzer, Samuel Feldhandler, Frida Robles

TEXTURAGES Paula Caspão VIGNETTES Alix Eynaudi

Poster picture of Claire Lefèvre’s Grimoire/Giant Notebook/Bison Book Rasa Juškevičiūtė

INSTITUTE OF REST(S)
Alix Eynaudi, Paula Caspão, Quim Pujol
Back side A thread for Alix Eynaudi, woven as a table placement by Genė Janušauskaitė in 1936, out of the flax she had sawn and harvested herself. Photographed by Kristien Daem in 2022, after Aldona Malašauskienė revealed the placement to her son Raimundas.

Contextures was originally published in 1978 by New York City’s legendary Just Above Midtown gallery. Edited by gallery founder Linda Goode Bryant and Marcy S. Philips, the publication provides an extensive history of Black artists working in abstraction from 1945 to 1978, while also articulating a newly-emerging movement of Black Conceptual Art in the 1970s.

The publication contains extensive writing by Goode Bryant and Philips drawn from interviews with the featured artists, as well as 58 black-and-white and 16 color images documenting the work of 25 artists: Banerjee, Frank Bowling, Donna Byars, Ed Clark, Houston Conwill, John Dowell, Mel Edwards, Wendy Ward Ehlers, Fred Eversley, Susan Fitzsimmons, Sam Gilliam, Gini Hamilton, David Hammons, Manuel Hughes, Suzanne Jackson, Noah Jemison, James Little, Al Loving, Senga Nengudi, Howardena Pindell, Betye Saar, Raymond Saunders, Sharon Sutton, Randy Williams, and William T. Williams. A newly commissioned afterword by Thomas (T.) Jean Lax, curator of the exhibition Just Above Midtown: Changing Spaces at the Museum of Modern Art, is also included.

Goode Bryant and Philips originally conceived Contextures to accompany The Afro-American Artists in the Abstract Continuum of American Art: 1945–1977. Functioning more like a textbook than a traditional catalog, the book nonetheless realizes a vital mission of their curatorial vision, placing Black artists within the still-prevalent, white-dominated canon of post-war abstract art. Despite its historical importance and visionary scholarship, Contextures was originally produced in a limited run of just a few hundred copies by the gallery and remains rare and largely unknown.

This new edition is produced in facsimile form and is a co-publication with Pacific.

For the project Time has fallen asleep in the afternoon sunshine a group of people/ performers memorize a book of their choice. Together they form a library collection consisting of living books. After years of learning by heart and reciting for readers, some of the books have now been written down from memory to create new editions, versions resulting from this process. This book is one of those books, chosen by one person, learned by heart and recited many times, and now written down again from memory. This edition is not a re-edition of the original text. It is a re-writing of the text after the process of reading, memorizing and reciting, with all the alterations that might have occured in the course of this process.

Catalog is a serial publication about cataloging, written by Lieven Lahaye and designed by Ott Metusala. This is Catalog issue 17, ‘Introduction’, it’s part of a sub-series, researching the life, work and near invisibility of writer Duncan Smith (1954–1991).

The racist term "play-white" comes from the apartheid era, when it connoted a black or mixed race person who lived as a white person: “So and so is a play-white.” South African artist Bianca Baldi draws from studies of biomimicry and her own family history, as well as literary precedents—such as Nella Larsen’s novel Passing (1929)—to reflect on racial passing and the instability of racial identities. Play-White alternates between layers of visualization and moments of discretion in order to explore questions of presence and evasion beyond their representation in black and white.

With contributions by Bianca Baldi, Mika Conradie, Shoniqua Roach, Amy Watson, and others; design by Katharina Tauer & Wolfgang Hückel in collaboration with K. Verlag.

Published 2021