Get Rid Of Meaning

The artist’s book ‘#GIVEPOETRYATRYCOLLECTEDPOETRY1990-2020…’ features thirty years of Karl Holmqvist’s artist’s writing in the form of spoken word and concrete poetry, together with signature “cover versions” of lyrics from singer-songwriters such as Robyn and Taylor Swift. The book’s tightly written A4 format pages and cardboard-box-brown no-nonsense cover has been designed in a collaborative effort between the artist and designer Dan Solbach.

‘#GIVEPOETRYATRYCOLLECTEDPOETRY1990-2020…’ Karl Holmqvist’s artist’s book of collected poetry is published by Verlag der Buchhandlung Walther und Franz König on the occasion of projects at the Fridericianum, Kassel and gta exhibitions, ETH Zurich.

Curator, writer and dealer Seth Siegelaub (1941–2013) is legendary for his promotion of Conceptual art in New York in the 1960s and ‘70s.

Acknowledging the unusual scope and essentially unclassifiable nature of his manifold interests and activities, this volume shows how Siegelaub’s projects and collections are underpinned by a deeper concern with printed matter and lists as ways of disseminating ideas. The book’s chapters explore the various facets of and connections in Siegelaub’s work, from his groundbreaking projects with Conceptual artists and his research and publications on mass media and communications theories to his interest in handwoven textiles and non-Western fabrics. It also highlights his collecting activity, which culminates in a unique ensemble of books on the social history of textiles and a textile collection comprising over 750 items from around the world. The survey also reflects on current practices through contributions by contemporary artists, such as Mario Garcia Torres and writer Alan Page, who co-created a new work inspired by Siegelaub’s bibliographic project on time and causality.

With essays by art historians and curators, a previously unpublished conversation between Siegelaub and artist Robert Horvit and an annotated chronology, this comprehensive survey pays homage to one of the most distinctive characters in 20th-century exhibition-making.

A collection of interrelated short stories by Lucy McKenzie and Alan Michael. First published in private limited edition, it was intended as a cheap holiday read to titillate and entertain summer visitors to the Mediterranean island of Stromboli, and as a piece of site-specific work; the location of the action and the place in which it is read being the same.

The visual art subsequently generated by Unlawful Assembly includes work by Josephine Pryde, with whom the artists collaborated to produce this second edition’s cover image.

Jack Smith presented his performance Irrational Landlordism of Bagdad as part of the Cologne Art Fair fringe in the summer of 1977. Many other events were documented photographically and can now be found in the Cologne Art Fair archives - not so Smith's performance.

This book shows him in his fair stall and during his performance for the first time. The pictures are perfect documents of a completely eccentric transaction by this pioneering director and performance artist.

Past Words is three books in one: a collection of previously published texts and two exhibition-like experiments: A Year with Prem Krishnamurthy at the KW Institute for Contemporary Art, Berlin, and Endless Exhibition at the Kunsthal Gent. These parts are iinterconnected but distinct, not least because each is designed by a different designer—Ann Richter, David Knowles, Mark Foss & Valentijn Goethals. Together, they chart the past—and future—of a peripatetic performance of a practice, taking stock of a fifteen-year period through writing, a medium that 1s both primary and secondary. This writing is about design, about curating, about exhibition-making, and about how all three are themselves forms of storytelling. They allow us to draft narratives that stand just to the side of accepted realities, to sneak wild ideas into the world with the hope they may—with time—turn into facts. 

Based in Berlin and New York, designer and curator Prem Krishnamurthy (born 1977) is head of the artist group Department of Transformation and of the design consultancy Wkshps. In 2015 he was the recipient of the Cooper Hewitt’s National Design Award for Communication essDesign. As both creator and curator, Krishnamurthy aims to discover “how art & design can be agents of transformation for individuals, communities and institutions.” 

With an introduction by Krist Gruijthuijsen.

Sticky Fingers' Fortune Teller features wisdom from McKenzie Wark, Octavia E. Butler, Kate Zambreno, bell hooks, Clarice Lispector, Eileen Myles, Kathy Acker, Johanna Hedva, Lou Sullivan, Audre Lorde, June Jordan, and Anne Boyer.⁣

A3, single colour risograph

Sands Murray-Wassink (b. 1974, Topeka, Kansas) is a painter, writer, and performance artist based in Amsterdam. A long-overlooked cult figure in the city’s art scene, his work spans decades, touching on themes of gender, desire, intimacy, mental health, and self-exploration. Deeply influenced by intersectional feminism and queer theory, his practice revolves around, and is shaped by figures such as Carolee Schneemann, Hannah Wilke, Adrian Piper, and Eva Hesse.

Since 2014, Sands has predominantly focused on what he calls “Horse Drawings,” utilizing mostly watercolors and often incorporating quickly drawn texts, on A4 and A3 formats, both on white, colored paper and found material such as newspapers. These drawings, while sometimes devoid of actual horse imagery, all bear the title and embody the spirit of equine grace, symbolizing a personal journey towards healing. The horse, a figure the artist was once restricted from engaging with by his grandfather due to its perceived femininity, has evolved in his work as an emblem of transformation and healing. The book includes a broad selection of over 700 drawings printed in full color, and the short text Investment by Sands. 

Published to accompany the artist's retrospective at the Kunstmuseum St. Gallen (September 2025–March 2026), this comprehensive monograph offers a detailed overview of the work of Dutch artist Jacqueline de Jong. Designed by Sabo Day and edited by Melanie Bühler, curator of the exhibition, this publication spans De Jong's entire artistic journey of from her editorial activities and bold figurative paintings of the 1960s to her "Billiards" series in the 1970s, and her latest series of the 2020s that reflect the current state of the world. 

It features new essays by Karen Kurczynski (Professor of History of Art and Architecture at the University of Massachusetts Amherst), Emily LaBarge (writer and critic), Tiana Reid (Assistant Professor of English at York University), Paul Bernard (Director of Kunsthaus Biel), as well as an as-yet-unpublished conversation with the artist and McKenzie Wark (writer and theoretician). 

Organized through six sections entitled "Disobedience," "Publishing," "Chaos," "Pop," "Play," and "Politics," all lavishly illustrated, it underlines the challenging approach to art and life developed by De Jong formally, visually, and conceptually from the early 1960s until 2024.

Edited by Melanie Bühler
Texts by Emily LaBarge, Gianni Jetzer, Jacqueline de Jong, Karen Kurczynski, McKenzie Wark, Melanie Bühler, Paul Bernard, Tiana Reid.