Touch Response

Special edition: 100 out of 300 books are reworked by making cutouts in the book.

This publication shows the content of the folder ‘Narcissus. Gazing into an (artificial) well of fountain’. This folder is one of the 18.000 subject folders that are kept in the photographic collection at the Warburg Institute in London. This iconographically organized archive contains reproductions of sculptures, paintings, drawings, prints, tapestries, and other forms of imagery, ranging in date from classical antiquity to circa 1800. All the photographs in this publication were taken on July 2th 2023. 

Many thanks to Paul Taylor, Curator of the Photographic Collection, Warburg Institute, London.

Second edition

In banana boxes, Maxime Le Bon collects and stores a lot of documents in a jumble. Most of them are printed, cut out from newspapers, magazines, old publications, erratas and other fragments of texts. Added to this are drawings that he improvises - some of them torn or stained that he don't want to display or throw away. This collection of heterogeneous items is then being rearranged and slipped into plastic pockets where he stores them. Unstable and in constant change, this improbable archive grows with the years. It sedimented layers of experiences and constitutes this heterogeneous deposit from which can emerge all sorts of fragmentary narratives and accidental arrangements. The publication ZILCH brings together a selection of images from this extensive archive.

This publication shows the waiting archive of the Museum of Resistance. The Brussels Museum of Resistance is undergoing renovation. Hidden in the basements of the civil affairs department, the stacked archive awaits a new home. Boxes filled with recognition files, photo albums, exhibition panels, books, flags, furniture, and other scenographic materials are scattered throughout the entire floor plan. The recently appointed archivist Samuel and historian Agnes are sorting through the archive pieces and are striving to ensure a future. 

„Ungenießbare Zeichnungen“ is a series of visual traces by artist Shin Kudo. „Ungenießbar“ means „Unenjoyable“ in German, which is a term that is used to describe a certain category of fungi, considered not edible but also not poisonous. What is enjoyable and what is not? For whom should it be enjoyable? Spores, Blood vessels, nature energy, Alien….Shin Kudo’s intuitive drawing triggers our feelings between our daily world and the world that we often overlooked - The world full of life circling and endless streaming.

The book contains 24 drawings from the “∞” series and the spore print series “The Unknown Friends”, following with an interview conversation with the artist. 

A fascinating account of Lankton's inquisitive, sociological and emotional ruminations in advance of her gender-affirming surgery.

This is one of the earliest of Greer Lankton's (1958-96) journals, sketchbooks and daybooks to appear in the artist's archives, and the first to be published in facsimile form. Written during her time as an art student at the School of the Art Institute of Chicago, the journal offers key insights into Lankton's mind at work before her career-defining move to New York in 1978, where she would become an important figure of the East Village art scene in the 1980s and early '90s with her lifelike dolls and theatrical sets.

Containing drawings, behavioral diagrams and aspirational, occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the 19-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of the days recorded here; days leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity and human behavior.

David Wojnarowicz, one of the most provocative artists of his generation, explores memory, violence, and the erotism of public space—all under the specter of AIDS.

Here are David Wojnarowicz’s most intimate stories and sketches, from the full spectrum of his life as an artist and AIDS activist. Four sections—”Into the Drift and Sway,” “Doing Time in a Disposable Body,” “Spiral,” and “Memories that Smell like Gasoline”—are made of images and indictments of a precocious adolescence, and his later adventures in the streets of New York. Combining text and image, tenderness and rage, Wojnarowicz’s Memories That Smell Like Gasoline is a disavowal of the world that wanted him dead, and a radical insistence on life.

The new and revised edition features a foreword by Ocean Vuong and a note from the editor, Amy Scholder.

For years, Ukrainian journalist Maksym Eristavi has been mainstreaming the global awareness about the legacy of Russian colonialism. A few days before Russia launched a full-scale invasion of Ukraine, he started a Twitter thread listing all Russian colonial invasions over the last century and highlighting one specific pattern that they all went by. The post has gone viral and is now dubbed the "mother of all Russian colonialism tweets". Together with a group of Ukrainian artists, Eristavi transformed it into an illustrated pocket guide to the 48 most recent invasions of Russian colonialism — to bring everyone’s attention to a pattern of serial behavior by the largest colonial empire.

Publication is prepared with the support of the MOCA NGO and the Ukrainian Emergency Art Fund in collaboration with the Sigrid Rausing Trust. Some illustrations created during the illustrative workshop for the book Russian Colonialism 101 have been donated to the Ukrainian Museum of Contemporary Art (UMCA).