The Trial

First monograph devoted to the playful, explosive and colorful paintings of the Iranian artist, featuring extensive illustrations along with a selection of drawings and preparatory studies that reveal the methods behind Hoda Kashiha's compositions, which are often constructed like collages, in which multiple layers intersect, cut-out shapes emerge, and images evolve through a combination of hand-drawing and digital manipulation.

Published following the exhibition I'm Here, I'm Not Here at Passerelle Centre d'Art Contemporain, Brest, in 2022, Hoda Kashiha's first solo public exhibition in Europe.

Developing a distinctive form of pop painting that moves freely between uninhibited Cubism and a cartoon-like visual language, Iranian artist Hoda Kashiha (born 1986 in Tehran) produces works that appear playful at first glance but reveal darker, more enigmatic, and deeply symbolic layers upon closer examination. Humour is a recurring strategy in her practice—one that fosters intimacy with viewers while enabling her to address serious and sensitive questions rooted in the social context and political climate of her home country. Her paintings also engage universal concerns, including gender relations and the place of women in society. For Kashiha, her protagonists become activists without ever speaking: they assert their differences openly and remain steadfastly optimistic. With her exuberant use of forms and colour, Kashiha creates an explosive blend of genres in which Picasso seems to drift into the world of Minecraft, joyfully dismantling the conventions of the past.

Text by Lilian Davis; conversation between Loïc Le Gall and Hoda Kashiha.

Petrit Halilaj and Danh Vo in conversation; Forensic Architecture (Eyal Weizman, Nour Abuzaid, and Elizabeth Breiner); Gabrielle Goliath; Edward W. Said; Shumon Basar; Dani Blanga Gubbay; Yvonne Rainer; Thomas Eggerer and Jochen Klein; Tobias Pils; Travis Jeppesen...

Collective intelligence (along with its wildly popular counterpart, brain rot) is a recurring subject of late. This issue is woven together through reflections on methodologies of the collective, larger-than-ourselves dynamics and "what goes unuttered (of, perhaps, what is painfully unutterable)," as Zoé Samudzi writes about Gabrielle Goliath—whose project for the South African pavilion at the upcoming Venice Biennale has been cancelled by the Arts and Culture Minister of her country for being "divisive." We stand in solidarity with the artist. Forensic Architecture's Eyal Weizman speaks of new ways of detecting "hyper-relations" as strategies to confront systemic violence. Edward W. Said, in his crucial 1993 essay "Speaking Truth to Power" (reprinted here), argues that "the intellectual's voice is lonely, but it has resonance because it associates itself freely with [. . .] the common pursuit of a shared ideal." And in our Curators section, Shumon Basar memetically reaffirms that now more than ever, "Comment is king."
Let's not shy away from commenting.

This issue comes with different covers, randomly distributed.

A photographic archive of the transgender community in Bologna in the 1980s. With critical texts by scholars and queer theorists.

This book is inspired by the pictures that Giordano Bonora, a young streetcar operator and aspiring photographer, took of Bologna's small transgender community in 1980 (although it would be more correct to speak, in this case, of proto-Transgenderism). Reproduced here for the first time, these raw and gilded images reflect—during a period in Italy characterized by subversive movements and political revolts that were not just rooted in questions of identity—attempts made by T* people at a construction of the self outside the binary logic of the genotypically XY male/genotypically XX female. By people like Valérie—a woman's face, a hairless chest with no breasts, a fleur-de-lis tattooed on the shoulder, and two pairs of pantyhose—for whom “gender” is not determined biologically but something to be embraced depending on the circumstances. A box containing a jigsaw puzzle with a picture that is constantly changing. Bundled with the photographs, a handful of texts set out to explain how the question of gender involves two cultural levels of sexual difference, the normative and the dissident, and how the decision-making power over organs outside heteropatriarchal systems of sexuality and processes of disidentification are the stakes in the new “somato-political” struggle against hegemonic regimes of oppression conducted by enchanting, allied, opaque, and vulnerable bodies.

Texts by Paolo Barbaro, Paul B. Preciado, Helena Velena, Salvatore Vitale, Wendy Vogel.

A journey through the artist's work and life.

William Anastasi is the author of a prolific body of work. A major figure in conceptualism and in many respects one of its initiators, his trajectory cannot be solely confined to this chapter in the history of contemporary art. The book revisits, through the prism of multiple voices, the various aspects of an approach that unfolded with the use of complementary mediums. Drawing coexists with photography and "new" technologies, alongside objects, paintings, and installations. Within this corpus to be (re)discovered, sounds, images, and language, as well as artifacts, protocols, and processes, convey inquiries related to space and time, representation, and perception. With contributions from Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, and Erik Verhagen.

Edited by Erik Verhagen.
Texts by Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, Erik Verhagen.

The first monograph dedicated to the Neapolitan feminist and pacifist artists' collective: unpublished documents, images, photographs, and manifestos are accompanied by new creative, political, and historical contributions, evoking the collective joy of Le Nemesiache's history so as to bring a sense of myth back into the world, rewriting and embodying it anew.

Nemesiache is an informal feminist group co-founded in Naples in 1970 by the multidisciplinary and visionary artist and writer Lina Mangiacapre (1946-2002). The collective, which included up to twelve women (centered around Claudia Aglione, Fausta Base, Silvana Campese, Consuelo Campone, Conni Capobianco, Bruna Felletti, Anna Grieco, and Teresa Mangiacapre), fostered an experimental artistic practice and a way of being in the world rooted in feminism, mythology, folktales, sci-fi, and radical imagination, while also introducing "transfeminism" in the early '80s. 

Throughout their long-lasting practice spanning several decades, the group retrieved an androgynous mythosophy to transcend art as mere representation and challenge the feminine as a modern identity category. Their distinct transformative approach within both Italian and Western feminist art history led not only to the emergence of an interdisciplinary practice—encompassing film, performance, writing, rituals, poetry, music, collage, costumes, protests, and conferences—but also the creation of a new political language, grounded in cosmological creativity and justice through mythological rituals.

Edited by Sonia D'Alto.
Texts by Chiara Bottici, Federica Bueti, Cairo Clarke, Sonia D'Alto, Giulia Damiani, Giusi Palomba, Imma Tralli & Roberto Pontecorvo, Elvira Vannini, Giovanna Zapperi, Arnisa Zeqo.

The publication is the first institutional monograph on the multimedia practice of artist and director Ali Cherri. It aims to highlight the constellation of ideas, themes, and formal concerns running through his most recent, highly significant projects.

Edited by Alessandro Rabottini and Leonardo Bigazzi, with Bianca Stoppani, this book provides an overview of the artist's output over the past three years, teasing out both new strands for interpretation and formal links between his films, videos, sculptures, drawings, and installations.

Texts by: Cecilia Alemani, Erika Balsom, Étienne Bernard, Leonardo Bigazzi, Ali Cherri, Lorenzo Giusti, Stefanie Hessler, Priyesh Mistry, Alessandro Rabottini, Stefan Tarnowski.

Video and visual artist Ali Cherri (born 1976 in Beirut, lives and works in Paris and Beirut) received a BA in graphic design from the American University in Beirut in 2000, and an MA in performing arts from DasArts, Amsterdam, in 2005. His current project looks at the place of the archaeological object in the construction of historical narratives.

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.

Exclusive works designed by Laure Prouvost for her carte blanche at the Mucem in Marseille, a series of immersive and poetic installations in the heart of Fort Saint-Jean, photographed by Raphaël Massart for this cut-out book, between an artist's book and an exhibition catalogue, accompanied by drawings and critical texts.

For the Mucem, Laure Prouvost has created a series of immersive installations in the heart of Fort Saint-Jean. Repurposed everyday objects, glass sculptures, sound mirages, and underwater videos shot in the depths of the calanques and around Frioul compose a sensitive and poetic universe. Between fiction and reality, the artist invites visitors on a sensory journey where everything is transformed: forms, narratives, and life itself.
The book was conceived as a visual journey leading from the Old Port of Marseille to Fort Saint-Jean and into the very heart of each work. To recreate this encounter between artist Laure Prouvost and the Mucem, there is a constant dialogue between the exterior—the sea, the stone of the fort—and the interior—the intimacy of the installations that unfold in the air, in the bowels of the earth, and underwater... Designed in close collaboration with the artist, the book captures this moment through photographic work carried out especially by Raphaël Massart and an evocative form designed by the artist: like a book that also floats in the Mediterranean. To accompany this visual unfolding, a booklet embedded in the heart of the book contains texts by Hélia Paukner, curator of the exhibition, and Mathilde Roman, art historian.

Published on the occasion of the eponymous exhibition at the Mucem, Marseille, in 2025.

A portrait of the cohesive community of women artists in Frogtown, Los Angeles, including Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner.

The Glover Group: A Los Angeles Story narrates the journey of an extraordinary group of artists who have nurtured their unique artistic voices within the same studio complex in Frogtown, Los Angeles. The Glover Group includes Ruby Neri, Hilary Pecis, Megan Reed, Lily Stockman, and Austyn Weiner, a coincidental yet cohesive community of women artists sharing a unique bond through their interconnected workspace.

This catalog, designed to document their collaborative exhibition held at MASSIMODECARLO in Milan during July and August 2023, features interviews to the artists by Cecilia Alemani, Alison M. Gingeras, Justine Ludwig, Marta Papini, and Heidi Zuckerman, together with photographs by Tracy Nguyen.

Contributions by Ruby Neri & Alison M. Gingeras, Hilary Pecis & Cecilia Alemani, Megan Reed & Marta Papini, Lily Stockman & Heidi Zuckerman, Austyn Weiner & Justine Ludwig.

This issue uses the font designed for german news magazine Spiegel by amazing Lucas de Groot. The color poster is part of the full print of the series “Les Filles d’Amsterdam” by photographer Jean-Luc Moulène. It is the first time this series is printed in book form and in an exclusive interview the artist tells the story of that work.

Contributors: Lily Wittenburg, Maren Grimm & Jakob Krameritsch, Michael Milano, Assaf-Evron, Sophie Thun, Juliana Huxtable, Interview with Jean-Luc Moulène, poster by Jean-Luc Moulène, Magda Tóthová, Peter Machen on Brenda Fassie, Mariah Garnett, Shady El NoshokatyTommy Støckel