Love with Obstacles (Amor Rojo)

The racist term "play-white" comes from the apartheid era, when it connoted a black or mixed race person who lived as a white person: “So and so is a play-white.” South African artist Bianca Baldi draws from studies of biomimicry and her own family history, as well as literary precedents—such as Nella Larsen’s novel Passing (1929)—to reflect on racial passing and the instability of racial identities. Play-White alternates between layers of visualization and moments of discretion in order to explore questions of presence and evasion beyond their representation in black and white.

With contributions by Bianca Baldi, Mika Conradie, Shoniqua Roach, Amy Watson, and others; design by Katharina Tauer & Wolfgang Hückel in collaboration with K. Verlag.

Published 2021

'Inserts in Real Time' is the first monograph on the performance work developed by artist Dora García over the past twenty years. The book contains a conversation between the artist and curator Joanna Zielińska; a selection of her performance scripts; her performances to date, listed, illustrated, described, and contextualized; and three newly commissioned texts – by art historian Sven Lütticken, performance theorist Bojana Cvejić, and Dora García. The publication is co-published with M HKA, Antwerp, and accompanies Dora García’s exhibition 'She Has Many Names'.

Publication documenting the research made by Dora García for a video project on Oscar Masotta, pioneer of Lacanian psychoanalysis in Latin America and influential art critic.

It features a selection of Masotta's writings as well as contextual essays on his work.Segunda Vez is an art research project centered on the figure of Oscar Masotta (Buenos Aires, 1930, Barcelona, 1979), an author of groundbreaking texts about the Happening, art, and dematerialization, a pioneer of Lacanian psychoanalysis in the Spanish-speaking world, and a happenista. The project has yielded a full-length and four medium-length films by Dora García, two Cahiers documenting the research, and this book. Segunda Vez: How Masotta Was Repeated offers a selection of Masotta's writings, including his early study of Argentinean author Roberto Arlt, as well as texts that contextualize Masotta's thought and broaden the reach of his reflections on the intersections between performance and psychoanalysis, art and politics.

Edited by Emiliano Battista.
Texts by Dora García, Oscar Masotta, Roberto Bolaño, Jorge Jinkis, Inés Katzenstein, Ana Longoni, Emiliano Battista, Aaron Schuster, Julio Cortázar.

English edition

13,5 x 21 cm (hardcover)

320 pages (color & b/w ill.)

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.

The third Publiek Park publication – Walking Guide – combines essays, archival fragments, and artistic voices to trace both the exhibition route at Plantentuin Meise and the historical path that led from the creation of the Jardin Botanique in the heart of Brussels to its relocation outside the city. Following the logic of a quilt, layering different perspectives, textures, and timelines, the book connects artistic narratives with history and reflections on urban gardens, public space, and botanical imaginaries. Just like the exhibition, the publication offers not merely a portrait of a place, but a reflection on the multiplicity that defines it.

Alongside documentation of the exhibition and contributions from the participating artists, this year’s Walking Guide features writings by Nikolaos Akritidis, Denis Diagre-Vanderpelen, Koen Es, Lana Jones, François Makanga, Noam Youngrak Son, and Jean Watt. The two parks are portrayed in photographs by Michiel de Cleene, with book design by Victor Verhelst and Corbin Mahieu bringing all of these elements together.

This publication is made with the generous support of Plantentuin Meise and all partners.

"From this moment / and hence backwards / a visitation / echoes thru the apparent opening / to the tomb / the narrow passage is the mind's reasoning / in clarity / as she moves like a shadow / having lived her life before " — Joanne Kyger, from Places to Go (Black Sparrow, 1970)

"All processes measured as form are traceable in curved decay. Seemingly unmeasurable, unquenchable, the heart stone harbors its own native entropy. The evolution of organs is not ours to decipher. We’re drawn slanting toward the stone in helices of approaching circles. Our movements throw shadows, our bodies ring haloes." — Michael Cavuto, "Isis Theses"

"In the dual work of Isis Theses & Pyre I-V, living, death, language’s work of remembrance, place & poetic lineage all take part in shifting throughlines of recombinant forms, as a spiral spirals back on itself, changed over time. Early on, here, Cavuto writes “There is not enough wood for coffins. There is wood enough for a boat.” a Pyre then is a boat, a burning that is going somewhere, not death-as-end but as an upward & outward movement into collectively shared air, an archeology of connection. “Kyger wrote that memory is a weird dimension carried around invisibly in the ‘mind’’ Cavuto writes, in one of those moments that feels like a key, “Writing, she said, gives history back to you.” But it is not only history that Cavuto is carrying forward in these poems, it is something more spatially complex, enlivened & embodied in the dance of the words, & in the vital breakdown of the words themselves. The poems in Pyre I-V enact their answer to the question ‘what essence is left us when no words are left,’ & leave us, after the ritual process, dazzled with the true sense that something is left, something important of resonance & remembrance, in the atomized language-space; the air around the dis-integrating morphemes shimmering on the page as dissipative, potentiate sparks. —Cody-Rose Clevidence

Michael Cavuto is a poet based in Brooklyn, New York. His books include Country Poems (Knife Fork Book, 2020) and Pyre (Spiral Editions, 2025). With the poets Dale Smith and Hoa Nguyen, he publishes the Slow Poetry in America Newsletter. Along with Tessa Bolsover, he publishes hand-bound poetry books through auric press.

Pyre, Michael Cavuto. Illustrations by Astrid Terrazas. 52p, 8.5" x 6.75", hand sewn with red linen thread. Covers letterpressed on a 1963 Vandercook proof press with Strathmore Premium Grandee paper. Copy text and illustrations printed both offset and digitally on Mohawk felt paper in a first edition of 275. Printed, assembled, and bound in “Kingston, New York,” the unceded and currently occupied lands of the Haudenosaunee, Mohican, Munsee Lenape, and Schaghticoke. With thanks to Vladimir Nahitchevansky and the various friends who helped assemble.

FORMS OF LIFE OF FORMS brings artistic research into form – not merely as an aesthetic question but as a social and political one. Indeed, there are no politics without form! With Forms of Life, Rob Ritzen curated several “Moments” that assembled works, collective readings, and other references into a single installation. This publication reshuffles documentation of these “Moments” as a visual reflection of the trajectory of this research.

Rob Ritzen works as a curator with a background in philosophy. His curatorial practice is focusing on self-organized and cooperative formats. Consciously positioned at the margins of established institutions and outside of market-oriented spaces, his practice is placed in close association with communities of cultural practitioners. His initiatives are attempts to reconfigure the politics of making art and alternative forms of production and presentation.

The “catalogue dé-raisonné” of all the printed matter produced by the independent publishing house Beau Geste Press, that federated visual poets, neo-Dadaists and international artists affiliated with the Fluxus movement from 1971 to 1976.

The independent publishing house Beau Geste Press (BGP) was founded in 1971 by the Mexican artists' couple Martha Hellion and Felipe Ehrenberg. Together with their two children, they moved into a farmhouse in Devon, in the English countryside, where, joined by a group of friends including the artist and art historian David Mayor, the graphic designer Chris Welch and his partner Madeleine Gallard, they formed 'a community of duplicators, printers, and artisans'.

Beau Geste Press was active until 1976, printing publications by visual poets, neo-Dadaists and international artists affiliated with the Fluxus movement. Specialising in limited-edition artists' books, it published the work of its own members, but also that of many of their colleagues worldwide. In the spirit of cottage industry, Beau Geste Press adapted its methods and scale of production to its needs, keeping all stages, from design and printing to distribution, under the same—bucolic—roof.

Although it operated from the periphery of the main artistic centres of its time, Beau Geste Press was undoubtedly one of the most productive and influential publishing ventures of its generation.

Published by the CAPC musée d'art contemporain de Bordeaux in collaboration with Bom Dia Boa Tarde Boa Noite, this reference book surveys the history of the independent publishing house Beau Geste Press (BGP) through the publications of its founding members Felipe Ehrenberg, Martha Hellion, David Mayor and Chris Welch, and of the numerous visitors to its rural outpost from 1971 to 1976. A “catalogue dé-raisonné” of all the printed matter produced by BGP, it is complemented by critical essays and first-hand texts that explore the working methods (economy and autonomy of production, distribution of books via post) and document the international influence of this short-lived “community of duplicators, printers, and artisans”.

Essays by Karen Di Franco, Zanna Gilbert, Polly Gregson, Carmen Juliá, Alice Motard, Mila Waldeck ; original texts by Allen Fisher, Mike Leggett, Clive Phillpot, Cecilia Vicuña.

Editions by Claudio Bertoni, Ulises Carrión, Helen Chadwick, GJ de Rook, Felipe Ehrenberg, Matthias Ehrenberg, Yaël Ehrenberg, Allen Fisher, Ken Friedman, Mick Gibbs, Klaus Groh, Kristján Guðmundsson, Mary Harding, Woody Haut, Jan Hendrix, Jarosław Kozłowski, Myra Landau, Michael Leggett, Rafael López, Raúl Marroquin, Pepe Maya, David Mayor, Anthony McCall, Victor Musgrave, Opal L. Nations, Colin Naylor, Michael Nyman, Ryo & Hiroko Koike, Takako Saito, Carolee Schneemann, Sitting Dog & Co, Endre Tót, Yukio Tsuchiya, Ben Vautier, Cecilia Vicuña, Chris Welch, Hideki Yoshida...

Each book is accompanied by five unprecedented bookmarks.