Books

Atelier E.B's 2026 calendar is dedicated to the duo's spectacular window displays (2019-2025). These exhibitions feature garments from their fashion label arranged by professional window dressers—integrating the shopping experience into the exhibition context.

Atelier E.B (Edinburgh Bruxelles) is the company name under which designer Beca Lipscombe and artist Lucy McKenzie develop their joint projects.

In You Who Suffer, Because You Love, Love Still More, Serubiri Moses offers an intimate and personal study of the lives and loves of pop star Freddy Mercury, combining a detailed epigraphy on the duplicitous nature of Mercury's origins, sexuality, and artistic talent with his own delicate memoir as a poet. Through this series of interlocked poems, yet again Moses lures us into an atmosphere both sensual and scholarly that echoes well past its last verse.

With ardor and grace, Serubiri Moses traverses a catalogue of pop music, visual art, and cultural history to bring his readers to a state of openness — to love, to art, and the freewill of ecstatic experience. Moses’s writing forefronts pleasure as a gateway for deeper critical inquiry, braiding personal memory and epigraphic excursions into sex, stardom, and poetry, reminding us in this journey that "pleasure almost happens without us knowing."
— Tausif Noor

Serubiri Moses, Ugandan curator and author, lives in New York City. He serves as a part-time faculty member at Hunter CUNY, and visiting faculty at the Center for Curatorial Studies, Bard College. He previously held faculty positions at New York University, and the New Centre for Research and Practice, and delivered lectures at Chazen Museum of Art, Art Institute of Chicago, Williams College, Yale University, University of Pittsburgh, The New School, Zeitz Museum of Contemporary Art Africa, and basis voor aktuelle kunst (NL), and University of the Arts Helsinki (FL). As a curator, he has organized exhibitions at museums including MoMA PS1, Long Island City; Kunst-Werke Institute for Contemporary Art, Berlin; the Hessel Museum, Bard College, NY; and the Smithsonian National Museum of African Art. He has curated solo presentations of Carl E. Hazlewood, Reza Aramesh, and is working on a retrospective of Taryn Simon. He previously held a research fellowship at the University of Bayreuth, and received his MA in Curatorial Studies at Bard College, and is an alumni of the Àsìkò International Art Programme. He serves on the editorial team of e-flux journal and his short stories have appeared in print in Ursula, and online in Lolwe. He has published poetry in the online journals Jalada and Badilisha Poetry Exchange, as well as in print journals Kwani? 7, Kwani? 8, and READ: A Journal of Inter-Translation (2022). He is the author of the poetry collection THE MOON IS READING US A BOOK (2023; Pântano Books).

This zine is the result of the research residency "Plotting with the archive" that took place at Komplot between September 2025 and January 2026. The publication contains a subjective timeline of Komplot — its strategies, relations and projects — with the aim of organising them and at the same time speculating on possible future developments. The material was produced during a collective workshop in which the archive was explored and activated.

The new edition of Salinger's ever-relevant series of 1980s and '90s teenagers in their bedrooms. 

Bedrooms contain the past, the present and the future; they are sites of continual transformation. Popular culture and fashion continually change and recycle. While specific objects of decor change over time, teenagers' bedrooms are still private sanctuaries: spaces for safely experimenting during a time in life when one is forming and expressing ever-evolving identities.

Upon its release in 1995, Adrienne Salinger's book In My Room was an immediate success, selling nearly 24,000 copies in its first few years. The continued popularity of this work made in the '80s and '90s is curious. However, over the nearly 30 years since, and especially in the most recent decade of social media, the work's appeal has grown tremendously. In some cases, the work evokes nostalgia, but not primarily so. Adrienne Salinger hears from current teenagers often; many send her pictures of their bedrooms today. Social media encourages users to endlessly "rebrand" their identities, creating idealized fantasies, striving for perfection. These photographs are not about perfection. They give voice to the contradictions of our identities.

Hundreds of print and online articles, interviews and features on In My Room have been published and the work has been exhibited at museums all around the world. Long out of print and now considered a classic, with only a rare few available on the secondary market, the book returns in a new expanded edition as Teenagers in Their Bedrooms. With 26 additional photographs, this treasure is made available once more to new audiences.

Adrienne Salinger has published three photobooks: In My Room (1995), Living Solo (1999) and Middle Aged Men (2007). She is Regents Professor Emerita at the University of New Mexico.

A dirty cult-classic put out in a small batch by an underground publisher (Rudos and Rubes) in 2015, Johnny Would You Love Me If My Dick Were Bigger recounts the life of an artist and "old school homosexual" who bears a big resemblance to author Brontez Purnell.

Our hero doesn't trust the new breed of fags taking over San Francisco, though. They wear bicycle helmets, seat belts, and condoms. Meanwhile, he sabotages his relationships, hallucinating affection while cruising in late night parks, bath-houses, and other nooks and crannies of a newly-conservative, ruined city.

Furiously original, vital, and messy, this funny "non-memoir" uncovers a revelatory truth for the age: there are things far scarier than HIV.

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.

A new edition of Sarah Schulman's acclaimed 1988 novel, a noirish tale about a no-nonsense coffee-shop waitress in New York who is nursing a broken heart after her girlfriend Dolores leaves her; her attempts to find love again are funny, sexy, and ultimately even violent. After Delores is a fast-paced, electrifying chronicle of the Lower East Side's lesbian subculture in the 1980s.

Sarah Schulman is the author of sixteen books, including the novels The Mere Future, The Child, Rat Bohemia, and Empathy (all from Arsenal Pulp Press) and the recent nonfiction works The Gentrification of the Mind: Witness to a Lost Imagination and Israel/Palestine and the Queer International. She was also co-producer with Jim Hubbard of the feature documentary United in Anger: A History of ACT UP and is co-director of the ACT UP Oral History Project. She lives in New York, where she is Distinguished Professor of English at City University of New York (College of Staten Island) and a Fellow at the New York Institute for the Humanities at NYU.

This collection of poetry, prose, and other texts is the first publication dedicated to the writing of the late performance, video, and visual artist Stuart Sherman.

The Stuart Sherman Papers presents a selection of facsimile reproductions from his archive at New York University's Fales Library. This collection of entries is not exhaustive but conveys the diversity in Sherman’s writing, which used the ever-expanding vocabulary of the English language as a plastic material to study the abundance of meaning that can be derived through playing with combinations, order, and proximity of words. The texts reproduced here leave his edits, scribbles, and notes to self intact, presenting the page as Sherman last engaged with it.

With text contributions by Sally Banes, Mark Bradford, Michiel Huijben, and Nicholas Martin. Photographs by Nathaniel Tileston and Paolo Rapalino.

Editor: Michiel Huijben
Graphic design: Loes Verstappen
Copy editing: Harriet Foyster
Lithography: Marc Gijzen

Stuart Sherman (1945–2001) was a New York-based artist best known for his performances and video, but working in a variety of visual and literary media. He performed, exhibited, and lectured throughout the United States, Europe, and Asia. Sherman died of AIDS in San Francisco in September 2001.

Written with lyrical fire in a chorus of vividly rendered voices, Dionne Brand's second novel is an epic of the African diaspora across the globe.

It begins in 1824 on Trinidad, where Marie-Ursule, queen of a secret slave society called the Sans Peur Regiment, plots a mass suicide. The end of the Sans Peur is also the beginning of a new world, for Marie-Ursule cannot kill her young daughter, Bola, who escapes to live free and bear a dynasty of descendants who spill out across the Caribbean, North America, and Europe.

Haunted by a legacy of passion and oppression, the children of Bola pass through two world wars and into the confusion, estrangement, and violence of the late twentieth century.

"[Brand has] a lush and exuberant style that may put some readers in mind of Toni Morrison or Edwidge Danticat." — William Ferguson, The New York Times Book Review

Originally published in 1984, this classic dystopian trilogy is a testament to the power of language and women's collective action. 

In 2205, the Nineteenth Amendment has long been repealed and women are only valued for their utility. The Earth's economy depends on an insular group of linguists who "breed" women to be perfect interstellar translators until they are sent to the Barren House to await death. But instead, these women are slowly creating a language of their own to make resistance possible. Ignorant to this brewing revolution, Nazareth, a brilliant linguist, and Michaela, a servant, both seek emancipation in their own ways. But their personal rebellions risk exposing the secret language, and threaten the possibility of freedom for all.

Having fled to France in the aftermath of the Spanish Civil War, the Catalan psychiatrist Francesc Tosquelles joined the Saint-Alban psychiatric hospital, where he carried out a transformative clinical practice for over twenty years, in part under the Vichy regime. 

Saint-Alban was an extraordinary event, a commune, an informal refuge in a time of extreme danger, a sort of upwelling spread through word of mouth. Those entering the asylum were welcomed, and that welcome never stopped. Care happened through a broad range of communal activities for staff and patients: theater, cinema, collective writing, horticulture, the sorting of colored pearls, gymnastics, singing, a monthly newspaper. The dignity of every patient was of foremost importance. 

Now, as then, warmongers are willing to poison and slaughter without blinking, making all of life difficult if not impossible: the pull of such asylums is obvious. Tosquelles is a ground-breaking record of the life and work of the founder of institutional psychotherapy. Assembled by Joana Masó, with many texts translated to English for the first time, it is a direct encounter with Tosquelles’s clinical, intellectual, and political writings. 

“Tosquelles’s work serves as a model for dismantling capitalist institutions, a revolutionary venture whose essence Joana Masó captures.”
Paul B. Preciado 

“This remarkable collection allows us to experience the genius of Tosquelles in all its dimensions for the first time. We accompany him through his early work in Reus and Barcelona, the development of his therapeutic ideas and inventive practices in war-torn Catalonia and in exile at the Septfonds Camp, his legendary years at Saint Alban and his lesser-known later years in Melun, Nouvelle Forge and La Candélie. Joana Masó guides us to the creative heart of a man whose counter-cultural, counter-intuitive thinking excited generations of intellectuals in France and now inspires the world.”
Rosie Stockton 

“Resistance hero, anti-Stalinist Marxist, Surrealist, revolutionary practitioner of social therapy, mentor to Frantz Fanon: Francesc Tosquelles was one of the most innovative thinkers in modern psychiatry, a visionary whose moment may finally have arrived.”
Adam Shatz

With texts by Francesc Tosquelles, trans. Robert Hurley and Mara Faye Lethem

Un essai consacré au travail de la chorégraphe et danseuse Jennifer Lacey et de la plasticienne et scénographe Nadia Lauro, qui rend compte de l'univers visuel des deux artistes au travers de nombreuses illustrations.

Dans cet essai, Alexandra Baudelot s'attache à saisir l'ensemble des œuvres co-écrites par la chorégraphe Jennifer Lacey et la plasticienne et scénographe Nadia Lauro, en observant de quelle manière elles s'architecturent les unes aux autres pour constituer des extensions inédites d'une forme artistique vers une autre.

Elle les observe à la manière de parcours envisagés comme des supports d'expériences cherchant à déborder constamment ses propres cadres de représentation. Ceci afin de saisir les politiques mises en jeu pour penser le corps, sa place dans un environnement fictif ou quotidien, son impact dans les enjeux chorégraphiques contemporains et ses liens avec notre époque.

L'espace de cet essai se prête également à l'univers visuel des deux artistes qui se livrent ici à un jeu de construction entre l'exploration d'images d'archive, de déclinaisons de projets inédits et périphériques aux pièces publiques, d'illustrations, et d'exposition d'un portfolio de dessins.

Originaire de New York, la chorégraphe et danseuse Jennifer Lacey est établie à Paris. Depuis 1991, elle a développé son propre travail chorégraphique qui a été présenté aux États-Unis (P.S. 122, The Kitchen) et en Europe (Klapstuk Festival, Vienna Festival, Danças na Cidade, Biennale d'art contemporain de Lyon, Big Torino). Depuis qu'elle réside en France, elle a créé et présenté plusieurs œuvres : $Shot (Lacey / Lauro / Parkins / Cornell), Châteaux of France no. 2 et no. 3, un projet conçu en collaboration avec Nadia Lauro, et Prodwhee!, une série de courts modules. En 2002, elle a été accueillie en résidence aux Laboratoires d'Aubervilliers. Jennifer Lacey a collaboré à différents projets avec de nombreux artistes : Loïc Touzé, Boris Charmatz, Emmanuelle Huynh, Benoît Lachambre, Catherine Contour et Latifa Laâbissi. Elle développe actuellement ses créations au sein de l'association Megagloss.

Nadia Lauro est artiste visuelle et scénographe basée à Paris. Elle développe son travail dans divers contextes et conçoit des environnements, des installations visuelles et des costumes pour différents projets chorégraphiques. Outre Jennifer Lacey, elle collabore notamment avec les chorégraphes Ami Garmon, Vera Montero, Benoît Lachambre, Frans Poelstra, Barbara Kraus, figures de la danse contemporaine en Europe. En 1998, elle fonde avec l'architecte paysagiste Laurence Crémel l'association Squash Cake Bureau – scénographie et paysage au sein de laquelle elle conçoit des installations paysagères et du mobilier urbain. Elle a également créé la scénographie de plusieurs défilés de mode.

It’s fall (or autumn) 2018. The Trump administration wants to fortify the United States-Mexico border, Robert ‘Beto’ O'Rourke is running for Senate, and British grifter Nicki Smith has just secured a “low-paid glamour job” at the University of Texas’ Jacques Lacan Foundation. In between sleeping with the air-conditioning repair guy (or man) and watching Kate Moss make-up commercials (or advertisements) Nicki completes the first ever American-English translation of Lacan’s newly discovered and highly controversial notebook – without knowing any French.

An Anglo-American comedy of manners about identity and class The Jacques Lacan Foundation reveals—and revels in—the numerous pretensions that surround academia and authorship, and the institutions that foster them.

This book traces the legacy of Zona, Eastern Europe performance art festival that took place in Timișoara, Romania, between 1993 and 2002, years which were marked by a transition from communism to a new society built on different principles.

Bringing together artists from the former "Eastern Bloc," Zona became a space of encounters, a platform for theoretical discussions and postmodern art experiments, which displayed a remarkable diversity of artistic languages. The fall of the Berlin Wall, as Nicolas Bourriaud noted in his book "The Radicant", was the first decisive step towards globalization and the generalization of postmodern thought.

In the early 1990s, adopting subversive strategies helped artists overcome critical moments in totalitarian societies, which had been consolidated for decades in Eastern Europe. They combined techniques of expression such as pastiche, quotes, historical images, popular culture, or subcultures with personal mythologies. What resulted was often a critical mixture with an explosive effect. Body art became an appropriate language for critically analyzing stereotypes about the nation, religion, gender, or social prejudices and taboos. Body art facilitated the transfer of ideas and a dialogue with the audience, or it helped launch questions about identity politics. The concerns and intentions of the festival's protagonists were built around political, social, and artistic topics that were debated between the East and the West.

Essays by Ileana Pintilie, László Beke, Vladimir Bulat, Robert Fleck, Alexandra Titu, Berislav Valušek; artists' texts by Alexandru Antik, Matei Bejenaru, Ștefan Bertalan, Geta Brătescu, Oskar Dawicki, Ion Grigorescu, H.arta Group, Karen Kipphoff, Liliana Mericioiu, Dan Perjovschi, Lia Perjovschi, Sorin Vreme.

Jangal est un ouvrage collectif avec la participation d’Ana Pi, Julien Creuzet, Léna Araguas et Éva Barois De Caevel. Il a été conçu lors de l’exposition « Cet ailleurs, qui rejaillit en moi, lorsque je suis là (…) » de Julien Creuzet à la galerie NaMiMa de l’École nationale supérieure d’art et de design de Nancy.

The reception of art and performance is changing.

Smartphones and social media have troubled the old model of individual appreciation and close looking, giving rise to new forms of mediated perception, such as sampling, skimming and scrolling.

Charting recent trends in contemporary practice - research-based installations, performance exhibitions, interventions, and invocations of modernist architecture - leading art critic Claire Bishop challenges the assumption that fully focused attention is automatically good and distraction necessarily bad.

The Bolivian scholar and activist Silvia Rivera Cusicanqui is a pre-eminent Latin American intellectual, world renowned for her work in postcolonial and subaltern studies.  She has long maintained that we must acknowledge how colonial structures of domination continue to affect indigenous identities and cultures. Even in contexts where diversity and the value of indigenous cultures have been officially recognized, “internal colonialism” operates as a structure that shapes mental categories and social practices.  

This book considers this persistent colonial structure by examining artistic and popular practices of apprehending and resisting it, arguing that in Andean cultures there is a sustained practice of insubordinate image production and use. Combining this visual history with other instances of political resistance, the book offers an alternative narrative to the history of Latin American decolonisation.  This narrative challenges the common conception that mestizaje (race-mixing) and hybridity are liberatory formations, offering instead a new theorisation of the complex racial configurations produced by colonialism and its afterlives. 

Given Rivera Cusicanqui’s vital contribution to critical epistemologies, this book will be of great interest to students and scholars throughout the humanities and social sciences and to everyone concerned with the key questions of critical theory today.

The book Posting brings together a selection of feminist posters from Dutch archives to reflect on posting as an activist strategy, holding the potential to create counter-publics to mainstream culture and to fight against the erasure, exoticization, or tokenism of bodies and experiences that deviate from normative preconceptions.

As is the case for many professions, in the history of Dutch graphic design the absence of women, non-binary, queer, Black designers is striking. This doesn’t only point back to systematic processes of exclusion in the first place, but also to the biases at play regarding whose work is remembered and archived. While efforts have been made to add forgotten names to the existing canon, the many posters, flyers and other printed matter shelved in queer and feminist archives remind us to question the notion of single authorship altogether and instead study graphic design as a decisively collaborative and transdisciplinary practice, which is especially true for community-led and volunteer-based projects.

The posters featured in this book point to this rich landscape of feminist organizing, and were found at the International Institute of Social History and the International Archive for the Women’s Movement (IAV-Atria) in Amsterdam.

In its second issue, Manufacturing Narratives, Makan focuses on how interrogating narrativity can provoke fundamental questions about how societies define or choose to accept societal or historical truths in today’s world. Spanning across [and beyond] the Mashreq and Maghreb, the various contributions reflect a shared space of inquiry that bridges geographies and fosters emergent dialogues across shifting territorialities. This issue invited contributors to right (as much as write) narratives: to question authorship and its social collectivities, to retell alternative public histories, to explore gender roles, and to unsettle the exoticism, folklorization, and political textures of fiction as a practice of indiscipline. Together, these contributions re-articulate the genealogies of our present through the pluralities of the past, offering tools to imagine and manufacture alternative futures, and realities otherwise.

With contributions by Ala Younis, Bari Abbassi, George Bajalia, Karim Kattan, Karima Kadaoui, Tamkeen, Kenza Sefrioui, Lahbib El Moumi, Laila Hida, Maureen Mougin, Mohamed Amer Meziane, Monica Basbous, Nadia Tazi, Sénamé Koffi Agbodjinou, Salma Barmani, Sonia Terrab, Soufiane Hennani, Yto Barrada.

Edition of drawings, paintings and scans by Sophia Hamdouch, wrapped in a vinyl sleeve.

FUGUES is a study of objects. Elements repeat and imitate one another like a polyphonic canon of voices narrating stories of domestic confinement in looped time.

With images by photographer Nicole Maria Winkler & texts by artist Issy Wood, writer Ella Plevin, model Freja Beha Erichsen and curator Elaine Tam.

First launched in 2012, and published by mfc michèle didier (micheledidier.com), == is a small-run arts publication, edited by Matt Keegan. ==#2, 2015, is designed by Su Barber and published in an edition of 500 by Capricious Publishing. Barber and Keegan worked together on North Drive Press (northdrivepress.com) between 2005-2010, and this publication shares a variety of traits with NDP.

==#2 is a non-thematic arts publication contained in a box with a 96-page bound volume featuring artist-to-artist interviews, texts, and transcriptions. Six loose multiples are also included.

Contributors include: Sam Anderson, Uri Aran, Fia Backström, Darren Bader, Judith Barry, Stefania Bortolami, Daniel Bozhkov, Milano Chow, Anna Craycroft, Lucky DeBellevue, Cristina Delgado, Haytham El-Wardany, Jake Ewert, Vincent Fecteau, Corrine Fitzpatrick, Harrell Fletcher, Rachel Foullon, Aurélien Froment, Kenny Greenberg, Calla Henkel, Leslie Hewitt, Jaya Howey, Adelita Husni-Bey, Iman Issa, Ruba Katrib, Jill Magid, Jo Nigoghossian, Aaron Peck, Max Pitegoff, David Placek, Olivia Plender, Lisa Robertson, Andrew Russeth, Amy Sillman, Diane Simpson, Greg Parma Smith, Jessica Stockholder, Martine Syms, and Anicka Yi.

The fourth issue of the annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales, around the topic of voice.

The voice is everywhere, infiltrating everything, making civilisation, marking out territories with infinite borders, spreading from the farthest reaches to the most intimate spaces. It can be neither reduced nor summarised. And accordingly, when taken as a theme, the voice is inexhaustible, even when seen in the light of its very particular relation with the sonic or the musical, as is the case in most of the texts collected in this volume. There is no point therefore in trying to circumscribe or amalgamate the multiple avatars of the voice. We must rather try to apprehend what the voice can do, to envisage its landscape, its potential effects.
 
Spectres is an annual publication dedicated to sound and music experimentation, co-published by Shelter Press and Ina GRM – Groupe de Recherches Musicales.

Edited by François J. Bonnet and Bartolomé Sanson.

Contributions by Joan La Barbara, Sarah Hennies, Peter Szendy, Youmna Saba, Lee Gamble, Ghédalia Tazartès, David Grubbs, Stine Janvin, Pierre Schaeffer, Akira Sakata, Haela Ravenna Hunt-Hendrix, Yannick Guédon, François J. Bonnet, John Giorno.