Fieldguides for a Preternaturalist 1

'EURO—VISION: Undergrounding the Critical Material' explores extraction beyond the removal of minerals, delving into their financialization, management, and policy-driven circulation through the lens of the EU’s Critical Raw Materials Act. This volume examines resource extraction’s genealogies, valuation paradigms, and structural entanglements, offering a critical reassessment of extractive practices. Part of K. Verlag’s Processing Process series, the book features interviews with scholars, activists, and journalists, alongside commissioned texts and visual essays from FRAUD’s research. By interrogating the “extractive gaze” embedded in EUpolicies, it unveils the material poetics and transformative potential of minerals, fostering reflections on their complex entanglements.

Lithium, copper, uranium, child labor, and the bed of the deep sea—the mining sector is one of the most contested and problematic arenas of consumer complicity today. EURO—VISION: Undergrounding the Critical Mineral begins not with a location or a specific resource, but with a fundamental question: what counts as extraction today? While we might picture drills and quarries, the deeper story unfolds across financial markets, trade policies, legal frameworks, and the metrics used to define what is “critical” in the first place. Taking the EU’s Critical Raw Materials Act as a point of departure, this richly layered volume traces the hidden infrastructures and governing logics that shape how the mining industry moves substances from and across the Earth—and what these minerals, in turn, move with them.

Developed by the artist duo FRAUD (Francisco Gallardo & Audrey Samson) in close collaboration with environmental humanities scholar Michaela Büsse, the book gathers a wide range of voices—artists, scholars, economists, activists, lawyers, and journalists—to reflect on the long genealogies of resource extraction, the valuation paradigms that uphold them, and the terminologies that give them legitimacy. But the story doesn’t stop there. In the context of EURO–VISION, “undergrounding” becomes a tactic: a means of unsettling the structural violence concealed behind seemingly neutral data, and of turning toward the mineral itself—its material presence, its histories, its speculative potential.

Published in K. Verlag’s Processing Process series, EURO—VISION draws on FRAUD’s ongoing, research-led inquiry into critical mineral governance. Combining interviews, visual essays, and commissioned texts, it opens new pathways for thinking about the entanglements between geology, economy, and power. At once analytical and imaginative, the book invites us to see the subterranean anew—not simply as a resource, but as a site of resistance, relation, and possible futures.

Edited by Francisco Gallardo & Audrey Samson (FRAUD) in collaboration with Michaela Büsse. With essays and visual contributions by Adekeye Adebajo, Michaela Büsse, Liam Campling, Stephen Cornford, Jeff Diamanti, FRAUD, Matthew Fuller, Iman Ganji, Peo Hansen, Stefan Jonsson, Bahar Noorizadeh, Sophia Pickles, Ndongo Samba Sylla, Jennifer Telesca, Aleksandra Wojewska, and Mi You. Design by K. Verlag with Wolfgang Hückel & Katharina Tauer. Processing Process series editors: Anna-Sophie Springer & Etienne Turpin.

'Inserts in Real Time' is the first monograph on the performance work developed by artist Dora García over the past twenty years. The book contains a conversation between the artist and curator Joanna Zielińska; a selection of her performance scripts; her performances to date, listed, illustrated, described, and contextualized; and three newly commissioned texts – by art historian Sven Lütticken, performance theorist Bojana Cvejić, and Dora García. The publication is co-published with M HKA, Antwerp, and accompanies Dora García’s exhibition 'She Has Many Names'.

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

Precipitous philosophies. Synaptic-nerve narrations. Syntactic spirals. Hyper-coiled horizons. Will Alexander’s mental range has arrived. An anomalous scripting of the word “automatic,” Aunonomic Reasoning is a whirlwind of lingual torrents triggered by creative mishearing that at once exposes the occupations of orthodox surrealism, summons a voice for the scathed populace of imperial affliction, and forges new paths of phonetic potentiality to mend semantic injury. Pushing prosaic margins beyond their boundaries, these texts take on the etymological condition of the essay as “attempt” with iridescent siege, prepositional frenzy, paratactic provocation, noetic disreckoning, and a critical demand to dismantle: all of which signatures of Alexander’s unilateral poetic innovations.

More than a mere extension of the hands, the garden tool is what helps the gardener materialise their vision. Much like the painter’s brush and the sculptor’s chisel – without it, one would be helpless. This issue of Pleasant Place dives into the world of garden tools, the essential, the practical, and the beautiful. 

Including:
Instruments of Care – An introduction by Norbert Peeters with some philosophical remarks on garden tools.
Wardens of Good – A visual essay of the wonderful objects of Garden and Wood, a business selling vintage garden tools and ephemera.
Trusted Tools – Gardeners like Piet Oudolf and Jonny Bruce talk about their favourite tools that are illustrated in detail by artist Floris Tilanus.
Passing the Trowel – A visit to Sneeboer, the Netherlands most famous garden tool company, where the trowel has been passed down for four generations.
Toolmorrow – Artists are challenged to create new types of garden tools, for lazy gardening, stylish gardening and collective gardening.

Cover by Lou-Lou van Staaveren
Inside cover by José Quintanar
Centrefold miniatures by Zilan Zhao

Graphic design is by fanfare
Concept and editing by Guus Kaandorp, Floor Kortman and Lou-Lou van Staaveren

Semi-Nomadic Debt-Ridden Bedouins offers an in-depth look at nearly two decades of artistic output by the Palestinian artist and filmmaker Basma al-Sharif. Retracing her practice from recent works back to her earliest experiments, the book provides an original overview of how her visual language and conceptual concerns have evolved over time.

Basma al-Sharif's films and installations navigate the unstable terrains of displacement, colonialism, and representation—often shaped by the ongoing reality of the occupation of Palestine. Through a rich selection of images and curatorial essays, the monograph highlights the layered political and cinematic frameworks within which her works are embedded.

Also included are two newly commissioned literary contributions: a fictional piece by Karim Kattan that resonates with the themes of place and estrangement, and a conversation between al-Sharif and the artist Diego Marcon, in which they reflect on shared affinities, artistic processes, and their long-standing dialogue. Blurring the personal and the political, the real and the imagined, Semi-Nomadic Debt-Ridden Bedouins captures the complexity and urgency of al-Sharif's artistic journey.

Texts by Basma al-Sharif, Karim Kattan, Diego Marcon, et al.

Basma al-Sharif (born 1983 in Koweit) is a Palestinian artist working in cinema and installation. She developed her practice nomadically between the Middle East, Europe, and North America and is currently based in Berlin. Her practice looks at cyclical political conflicts and confronts the legacy of colonialism through satirical, immersive, and lyrical works.

Delirious Verse presents the first English translation of a talk given by the Italian poet Amelia Rosselli in the early 1980s, in which she read aloud from and expanded upon her seminal essay “Metrical Spaces.” Drawing on intensive literary and musical studies, and shaped by her trilingual upbringing as a refugee from fascist Italy, Rosselli conceptualizes a new kind of poetic form: a graphic-prosodic “time-space” capable of containing “all possible imaginable rhythms.”

The book includes a new translation of “Metrical Spaces” by Jennifer Scappettone and an afterword by Andrea di Serego Alighieri.

Edited and translated by Andrea di Serego Alighieri and Phil Baber.

CONTRIBUTORS Anna Bierler, India Boxall, Craig P Burrows, Alex Hampshire, Kayla Adara Lee, Marijn van der Leeuw, Melanie Matthieu, Gabriella T Moreno, Amira Prescott, Harrison Pickering, Astarte Posch, Ananda Serné, Zazie Stevens, Gedvile Tamosiunaite, Mia You.

cover image Ananda Serné & Poyen Wang

DAISYWORLD MAGAZINE is a seasonal art publication on perception, the sensory, the non-human, ecology & erotica with an emphasis on interconnectedness. The artist's intimate knowledge based on observation, questioning anthropocentrism through beauty & language. Reflecting on the past season while softly moving into the next, each issue launches in-between seasons; appreciating experience, transition, and metamorphosis instead of anticipating the next big thing.