Three Moral Tales

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.

A comprehensive retrospective of the Spanish artist's work, covering his major exhibitions (Manifesta, Reina Sofia, MACBA, Raven Row, etc.) and including all of his texts published as fanzines over a period of twenty years, a new critical essay by Kim West, and a wide-ranging conversation.

Conceived as a compilation of works and writings of the last two decades, this book is structured as an alternating succession of four different registers: four recurrent modes. A long-form interview, a series of questions from different collaborators, documentation of a selection of projects, and a compilation of the facsimilia of the brochures published by the author since 2008. The aim of this concatenation of recurring sections is to delay the linear progression suggested by the narrative of a compilation, by the apparent causal string of decisions, ideas, references and works displayed as an accumulative "biography" of the artist's practice. However, this being a bound book, the suggestion of an interwoven relation between all the works, regardless of when, where or how they were made, must submit to the order locked by the sewn spine of its signatures, the folder of bound pages that forms each section of a book.

Designed by Filiep Tacq, the book includes an essay by Kim West and a long-form interview by Beatriz Herráez, punctuated by questions from Filiep Tacq, Lisa Tan, Jon Mikel Euba, Antonio Menchen, Alex Valijani, Johanna Gustafsson Fürst, Itziar Okariz, Olatz Otalora, Antonia Majaca, Pablo Lafuente and Koenraad Dedobbeleer.

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.

A long conversation about the work and life of Portuguese artist Ana Jotta, accompanied by 60 previously unpublished photographs of her homes (in Brazil, Morocco, and Zanzibar) and her years in theater in the late 1970s.

“Peau d’Ana” is a conversation with the Portuguese artist Ana Jotta (1946), conducted in January 2024 by Alice Dusapin, Martin Laborde, and Baptiste Pinteaux in the Lisbon apartment that Ana has occupied for over forty years. Through the history of both this unique place and the various other homes in which she has lived — Tangier, Madeira, Brazil, and the Portuguese countryside — Ana Jotta mischievously and playfully invites us to revisit fragments of her life. She discusses her childhood, her work as an actress and set designer, her first exhibitions in the mid-1980s, and her life in the studio. She talks about the importance of pleasure and frustration, her love of painting and literature, and the role of the irrational in her work. She shares her dislike of families, her friendships with artists and other animals, and the detours necessary for finding, and preserving, the energy essential for work… and for sleep. She disarms with the precision of her words, which describe a solitary, demanding, and profoundly vivid existence where mediocrity has no place. The interview, published in French and English, is accompanied by some sixty previously unpublished photographs and documents.

‘Provisional School for Nothing—exercise of imagination’ aims to explore forms of parallel education such as self-learning, self-organized schools, unschooling, inner schools, and more. This book is a choir of around 30 invited guests (artists, choreographers, dancers, graphic designers, writers, thinkers and so on). We use the word ‘choir’ since we decided to explore the concept of authorship. The book functions like a language score —comprising words, fragments, and loose ideas that develop throughout a series of conversations we’ve had with our guests via Zoom during the pandemic.

with Marco Balesteros Sara Vaz Alexandru Balgiu Ana Jotta Bráulio Amado Cracked Bolos Igor Dobricic Isabel Carvalho Ivan Martinez João Fiadeiro João dos Santos Martins] Karel Martens Maki Suzuki & Lppl Marco Bene Maria Duarte Marion Cachon Miguel Bonneville Nelson Guerreiro Olivier Lebrun Olga Mesa Francisco Ruiz de Infante Paul Elliman Paul Faure Pedro Barateiro Pedro Rogado Ricardo Nicolau Sara & André Sara Graça T.I.M.E. Tomás Cunha Ferreira Von Calhau! the missing person a man in silence

designed by Sara Vaz Marco Balesteros 

I Want reviews the eponymous duo's double-projection film installation examining issues of gender, sexuality and performativity—and inspired by the words of punk poetess Kathy Acker and convicted whistle-blower Chelsea Manning. This publication documents the major film installation I Want (2015) by collaborative artists Pauline Boudry and Renate Lorenz, which was presented at their 2015 solo exhibitions at Kunsthalle Zürich and Nottingham Contemporary.

The double-projection film installation is based on a script that borrows texts from American punk-poet Kathy Acker (1947-1997), as well as chats and materials by convicted whistle-blower Chelsea Manning that speak of her reasons for revealing nearly one million secret military and diplomatic documents through WikiLeaks, at the same time exposing her transgender identity to her superiors.

Through poetic gestures of appropriation and recombination, Boudry and Lorenz examine issues around gender, sexuality, the performance of identity, and the nature of collaboration. Alongside generous color documentation, written contributions by Gregg Bordowitz, Laura Guy, Dean Spade, and Craig Willse unpack and reflect upon both the historical context and contemporary significance of this multivalent work.

A previously unpublished collection of 60 ink pictograms, drawn between 1976 and 1996, originally printed individually as A2 plane prints.

An early progenitor of the artist's book genre, Warja Honegger-Lavater was born in Winterthur, Switzerland in 1913. She worked as an illustrator for the magazine Jeunesse from 1944-1958, and moved to New York shortly thereafter where she began a wonderful series of artist's books. 
These books were published between 1962 and 1971, an exceptionally ripe time for artists to turn to the bookform, a time when the most often cited "first" artist's book also appeared, Twentysix Gasoline Stations (1962) by Ed Ruscha.

All of Honegger-Lavater's books are made using the accordion-fold binding. Her aesthetic has been aptly described as "very clean, very Swiss." Each book tells a story, sequentially, like traditional books, but varying from them by rarely using words. Instead she chooses a symbol to represent, for example, a character, as in the red dot standing in for Red Riding Hood in Little Red Riding Hood.

What does an oracle look like? gathers essays and drawings made by Perri MacKenzie between 2020 and 2024, themed loosely around pottery painting and vocal expression. The drawings, rendered in splashy India ink and collage, range from expressive sketches to theatrical still lives and experimental bandes dessinées. The book presents for the first time the essay Cathedral. Part memoir, part literary/sonic investigation, it meditates on the vocal texture of a Hollywood actor.

Designed by Ilke Gers.

A facsimile of the GALA Committee's mock auction catalog for an artistic intervention into the props and plots of Melrose Place.

Originally published in a limited run in 1998, Primetime Contemporary Art documented In the Name of the Place, a radical two-year intervention by a group of artists, initiated by Mel Chin and known as the GALA Committee, on the primetime television show Melrose Place. This extremely rare artist's book is reproduced for the first time as a facsimile edition.

The artists comprising the GALA Committee worked with the producers of Melrose Place to develop a series of political works that were used as props and plot devices across two seasons of the show, providing surreptitious commentary on reproductive rights, HIV/AIDS, the Gulf War, domestic terrorism, corporate malfeasance and substance abuse. Some of these topics were banned by the FCC at the time, and the group's works allowed for the artists and the show to create political commentary that went unnoticed by censors. The artworks they produced were exhibited at the Los Angeles Museum of Contemporary Art in 1997 and then sold at an auction at Sotheby's to support several charities. Primetime Contemporary Art was created by Mel Chin and Helen Nagge as a mock auction catalog documenting the artwork made for the show and the conceptual framework of the GALA Committee.

BEAUTY KIT – AN ECO-EROGENOUS ART PROJECT by Isabel Burr Raty with contributions by Kristin Rogghe, Elke Van Campenhout, Gosie Vervloessem, Pablo Diartinez and Tim Vets, is an experimental catalog summarizing Isabel Burr Raty’s research on conceptualizing and manufacturing eco-erogenous para-pharmaceutical products. It tells the story of the BKFF, a mobile farm where she and other females harvest their orgasmic juices to produce beauty bio-products, used for treatments in the BK Spa, critically discussed in the BK Focus Group and moving forward into becoming a village, where every-body harvests each other. The catalog comes with contributing text, “Harvesting bodies – The Farm as Paradox” by Elle/Elke Van Campenhout, and other reflections on the project.

Isabel Burr Raty is a Belgian-Chilean artist, filmmaker, and Media Art History teacher in ERG (École de Recherche Graphique), living between Brussels and Amsterdam. She is currently developing her second feature film, about the colonial impact on Easter Island, and creating live art and new media installations that queer production understandings, such as the Beauty Kit Project. Her works have been shown internationally.