The highly distinctive publications on contemporary art are shaped by the personal preferences and friendships of the publisher. Painting and drawing, photography, video, installation, and new media are of interest as independent positions or in combination with architecture and the environment.

  1. Manifesta 11: What People Do for Money
    From June 2016
    The official Manifesta 11 catalogue
    Manifesta 11: What People Do for Money

    Edited by Stichting Foundation Manifesta 11, designed by Intégral Ruedi Baur. Contributing authors: Franco Berardi, Harald Falckenberg, Hedwig Fijen, Sarah Schilliger, Michail Schischkin, Jakob Tanner and many others.
    What People Do for Money is published on the occasion of the 11th edition of Manifesta, the European Biennial of Contemporary Art. Curated by artist Christian Jankowski, the biennial permeates the social fabric of Zurich by initiating collaborative projects between artists and citizens from different worlds of work. The catalogue features over thirty of these joint ventures—along with illustrations of the thematic exhibition, documentation of the Pavillon of Reflections on Lake Zurich, and coverage of the participatory artists’ guild at Cabaret Voltaire. Including commentaries from the artists’ collaborators, stills from the film programme, sociological research, and new literary texts, it presents a multifaceted portrait of Zurich—one which by generating and gauging discussions serves to contextualise the Swiss capital within Europe today.

    8 ¼ x 10 ¼ in, 21 x 26 cm, 336 pages, numerous illustrations, softcover

    ISBN 978-3-03778-488-4, german/english

    €45.00 / $60.00 / £35.00
  2. Some Pigeons are More Equal than Others
    Julian Charrière, Eric Ellingsen, Julius von Bismarck
    Some Pigeons are More Equal than Others

    Pigeon languages our cities. When a speckled grey pigeon is trapped by artists and spray-painted in a miniature car wash, and released as an ultramarine green pigeon streaking through a public space, what happens to the "flying rat"? How do we really know we have seen what we think we have seen? How is our perception always trapped and released?

    Some Pigeons Are More Equal Than Others began as an artwork by Julius von Bismarck and Julian Charrière and is now a book which treats the on-going art work as a breeding ground for more wild zones of contact with poets, philosophers, historians, architects, and other species. It is a poetry and prose anthology featuring creative writing made in dialogue with individual painted pigeons; a theoretical and critical space designed by philosophers and historians of science redefining our relationship to the world and history in a non-human-centered way; an urban manifesto evolving ideas on the role of public domains and the encounter with contemporary art today.

    With contributions by Ben Marcus, CA Conrad, Craig Dworkin, Lyn Hejinian, Marjorie Welish, Juliana Spahr, Ian Bogost, David Graham Burnett, Claudia Roden, Olafur Eliasson, and many others.

    21 x 24,7 cm, 8 ¼ x 9 ¾ in, 192 pages, 78 images, Hardcover (2015)

    ISBN 978-3-03778-465-5, e

    €50.00 / $50.00 / £37.00
    Julian Charrière JULIUS VON BISMARCK and JULIAN CHARRIÈRE are visual artists. They both graduated from the University of the Arts Berlin as Meisterschüler under the professorship of Olafur Eliasson and currently work and live in Berlin. Eric Ellingsen ERIC ELLINGSEN is an architect, landscape architect, and philosopher. He opened Species of Spaces in 2009 as a platform for the artistic entanglement of spatial experimentation. He currently teaches at The Art Institute, Chicago. Julius von Bismarck JULIUS VON BISMARCK and JULIAN CHARRIÈRE are visual artists. They both graduated from the University of the Arts Berlin as Meisterschüler under the professorship of Olafur Eliasson and currently work and live in Berlin.
  3. Noonday
    Annelies Strba

    The artist Annelies Štrba, best known for photographs of her children, now brings us in Noonday pictures of her grandchildren. In this “noonday dream” (a reference to Emily Brontë), we encounter a host of fairytale creatures, playing, sleeping, or dreaming. The viewer is drawn in and becomes part of this reverie, which is interspersed with images of everyday family life, travel, and game-playing. While the images in the artist’s previous series, Shades of Time (1997), were raw and direct, Noonday glows with the ease of a summer afternoon and yet still leaves us with the melancholy certainty that the days of childhood pass by much too fast.

    Design: Integral Lars Müller

    17.3 × 24 cm, 6 ¾ × 9 ½ in, 336 pages, 295 images, hardcover (2015)

    ISBN 978-3-03778-388-7, Englisch

    €49.00 / $65.00 / £39.00
  4. Sensing the Future: Moholy-Nagy, Media and the Arts
    Oliver Botar
    Sensing the Future: Moholy-Nagy, Media and the Arts

    Life in the digital economy of information and images enriches us but often induces a sense of being overwhelmed. Sensing the Future: Moholy-Nagy, Media and the Arts considers the impact of technology by exploring ways it was addressed in the practice of the Hungarian polymath artist László Moholy-Nagy (1895-1946), a prominent professor at the Bauhaus and a key fi gure in the history of Modernism. Moholy-Nagy felt that people needed guidance to cope with the onslaught of sensory input in an increasingly technologized, mediatized, hyper-stimulating environment. His ideas informed media theorists such as Walter Benjamin, John Cage, Sigfried Giedion, and Marshall McLuhan, who anticipated digital culture as it emerged. Should we then regard Moholy-Nagy as a pioneer of the digital? His aesthetic engagement with the technology/body problematic broached the notions of immersion, interactivity and bodily participation, innately offering a critique of today’s disembodiment. Was he then both a pioneer and a proto-critic of the digital? This book is intended to introduce this seminal fi gure of post-medial practices to younger generations and, by including responses to his work by contemporary artists, to refl ect on the ways in which his work is relevant to artistic practice now.

    21 × 29,7 cm, 8 ¼ × 11 ¾ in, 192 pages, hardcover (2014)

    ISBN 978-3-03778-433-4, English
    ISBN 978-3-03778-434-1, German



    Oliver Botar

    OLIVER A. I. BOTAR is Professor of Art History at the University of Manitoba in Canada. He is the author of Technical Detours: The Early Moholy-Nagy Reconsidered (2006, in Hungarian, 2007) and A Bauhäusler in Canada: Andor Weininger in the 50s (2009), and is co-editor of Biocentrism and Modernism (with Isabel Wünsche, 2011) and Telehor (with Klemens Gruber, 2013). He has published numerous articles, curated exhibitions and has lectured widely.

  5. Felice Varini
    Felice Varini
    Felice Varini
    Place by Place

    Place by Place is the latest publication by the artist Felice Varini, constituting a re-examination of his complete oeuvre based on his most recent works.
    His fascinating spatial installations make use of urban landscapes, walls, and rooms as “screens” for abstract graphical projections which the artist paints, draws, or fabricates from materials such as adhesive tape. Seen from an ideal vantage point, they appear as unexpected two-dimensional patterns against their three-dimensional background. When the viewer then leaves this vantage point and moves through the space, he sees the work as a perpetual metamorphosis of shifting, evolving forms. Accompanying the numerous illustrations is a text by Doris von Drathen that situates the work in its art-historical context, as well as an interview she conducted with the artist.

    Design: Integral Lars Müller

    30 × 24 cm, 11 ¾ × 9 ½ in, 402 pages, approx. 615 illustrations, hardcover (2013)

    ISBN 978-3-03778-405-1, English
    ISBN 978-3-03778-406-8, French

    €60.00 / $80.00 / £50.00

    €60.00 / $80.00 / £50.00

    Felice Varini

    FELICE VARINI, born in 1952, is a contemporary artist. In his work, painting becomes part of spatial installations set up both indoors and outdoors. He lives and works in Paris.

  1. 1
  2. 2
  3. 3
  4. 4
  5. 5
  6. 6
  7. 7
  8. 8