A guidebook that maps the social, urban, and art discourses of Georgia's post-Soviet years as seen from its hilly capital of Tbilisi (the catalogue of the Georgian Pavilion at the 55th Venice Biennale).
Cultural-historical materials and artistic positions that critically address the rise of the image of “One Earth” and the ecological paradigm associated with it.
Reference monograph: a complete overview of the production of French artist Camille Henrot, awarded Silver Lion of the 55th Venice Biennale, over nearly 10 years, with about 400 images, two essays and an interview.
First anthology of Rosemary Trockel's collages, which are a key for a difracted and non-academic view on the whole work of this German artist known internationaly (German / English edition).
A previously unpublished text by Gilles Deleuze on Francis
Bacon, with a set of contemporary readings of his Deleuze's writings on art,
by philosophers and theoreticians of the various disciplines addressed
(literature, cinema, music, art history...).
A sprawling series of buildings designed by the artist in the northern Yucatán in Mexico: a pivotal work by Jorge Pardo, his most recent and expansive Gesamtkunstwerk to date.
Interviews with Flag / Aubry-Broquard,
Lætitia Gendre,
Thomas Mailaender & Dominique Théâte,
Benjamin Marra,
Moolinex,
Lord Jon Ray,
Shoboshobo,
David Shrigley,
Fabio Viscogliosi.
“Romance” mûre is a dark cartoon influenced by various elements of Japanese folklore (supernatural creatures, samurai), J-Horror and Otaku countercultures, art brut and collage. The strips are invaded by coral and plant forms and depict a world of young schoolgirls struggling with monsters, rotten or decapitated bodies, ghosts...
Artist's book gathering a selection of outstanding photographic strips that capture the subtle beauty of ephemera. The use of black and white strengthens the contemplative essence of the photographs, in between naturalism and abstraction.
The catalogue of the Ostend exhibition, a reference publication on Dada and Surrealism around the figure of E.L.T. Mesens, a pillar of the surrealist movement in Belgium.
In Hito Steyerl's writing we begin to see how, even if the hopes and desires for coherent collective political projects have been displaced onto images and screens, it is precisely here that we must look frankly at the technology that seals them in.
The journey of the MuMo, a mobile contemporary art museum in the form of a container traveling by boat and truck to meet the children on the roads of France and Africa.