The book is the complete collection of Simone Forti’s News Animations, one of the works that best reveal her artistic practice. The news and, more broadly, the most pressing issues of the global socio-political situation, are used to explore the potential of language, its dimensions, and its combination with dance, movements, words, images, and music. Simone Forti has always “danced” the news, it’s the way she tells them. But, above all, it’s the way she internalizes them, feels them, and processes them. Through a stream of consciousness, the artist grants voice and body to thoughts about the world, its conflicts, war, injustices, and inequalities.

The volume collects Simone Forti’s News Animations from 1980 to 2018—through the transcriptions of the performances, images, and drawings—seeking to capture their spirit, their poetic stance and, mostly, understand how they manage to describe the society and the world we live in.

Produced on the occasion of Richard Tuttle’s participation in the group exhibition Das kleine Spiel zwischen dem Ich und dem Mir: Kunst und Choreografie at Kolumba Museum, Köln.

This early piece by Richard Tuttle consists of 10 drawings laid out on the floor using pieces of string. The traces of physical gestures that are incorporated into the piece open up a field of possibilities, enabling the visitors to become actors with their own agency. The notation for this piece is documented here and a video of the performance can be seen here.

This publication is the record of the improvised collaboration between Jeremiah Day and Simone Forti. Day’s work spans photography, installation and storytelling, and employs intensive research to establish connections between himself and places of public significance; while Forti is an artist with links to the origins of postmodern dance in New York in the early 1960s, and whose practice has more recently involved poetic writing. Day studied improvisation with Forti in Los Angeles, and in 2007 the two collaborated on an exhibition at Project Arts Centre, Dublin. With essays by Fred Dewey, Tessa Giblin and Simone Forti.

Produced on the occasion of the exhibition Yvonne Rainer: Space, Body, Language at the Kunsthaus Bregenz, 4 February–9 March, 2012. This many-sided project offered detailed and far-ranging insight into the legendary work of Yvonne Rainer, Presenting photographs and film documentations of stage works, notebooks, dance scores, scripts, and movie and exhibition posters.

With essays by Gabriele Brandstetter, Douglas Crimp, Yilmaz Dziewior, Barbara Engelbach, Carrie Lambert-Beatty, Volker Pantenburg, and Catherine Wood.

This book extends into book form Nick Mauss’s 2018 exhibition Transmissions at the Whitney Museum of American Art, which was heralded by the New York Times as “an installation, a collage of several art forms, a revisionist investigation of New York modernism and sexual expression, and an essay in queer theory…”

Including never-before published reproductions of documents and artworks by Eugene Berman, Ilse Bing, Paul Cadmus, Maya Deren, Walker Evans, Peter Hujar, George Platt Lynes, Elie Nadelman, Isamu Noguchi, PaJaMa, Dorothea Tanning, Pavel Tchelitchew, Carl Van Vechten, and many more. The essays consider subjects of ballet and the body, Mauss’s work as artist and exhibition maker, performance and historiography, and dance in museum spaces.

Originally published in 1974 by the Nova Scotia College of Art and Design, Yvonne Rainer’s Work 1961–73 documents the artist’s landmark early works at the intersection of dance, performance, and art.

Assembled ostensibly as a survey, Work 1961–73 features a multitude of documentary forms, including scripts, excerpts from the artist’s notebooks, press reviews, correspondence, photographic documentation, literary excerpts, contextualizing texts by the artist, diagrams, film stills, floor plans, scores, and more. As such, the publication resembles an artist book that generously gives the reader access to Rainer’s modes of working, as well as the social and political context around which the work was made. The publication is also a book of writing, with the artist’s frank, witty, and sometimes humorous prose intimately leading the reader through each work.