Women in Concrete Poetry: 1959–1979 is an expansive anthology focused on concrete poetry written by women in the groundbreaking movement’s early history. It features 50 writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre.

The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres Group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive, serial works that are overtly feminist and often trouble legibility.

Artists and writers include; Ana Bella Geiger, Mira Schendel, Mirella Bentivoglio, Tomaso Binga, Ilse Garnier, Mirtha Dermisache, Mary Ellen Solt, Susan Howe, Liliane Lijn, Hannah Weiner, Irma Blank, Ruth Wolf-Rehfeldt, Chima Sunada, Katalin Ladik amongst others. Designed by Scott Ponik.

Artist book with text drawings by Marc Nagtzaam, made between 1992 and 2019. Complementary to the writings, 24 artists contributions are inserted throughout the book. With contributions by Mark Manders, Louis Lüthi, Sue Tompkins, Stephan Keppel, Steve Van den Bosch, Nickel van Duijvenboden, Sophie Nys, Pierre Leguillon, Batia Suter, Experimental Jetset, Na Kim, Tim Hollander, Lily van der Stokker, Karin Herwegh, Karel Martens, Ruth Wolf-Rehfeldt, Kasper Andreasen, Jochen Lempert, gerlach en koop, Henri Jacobs, Anne-Mie Van Kerckhoven, Marijn van Kreij, and Willem Oorebeek.

As a continuation of the first Roma publication, SOME, dating from 1998, this book marks the 20+ years anniversary of Roma Publications. Designed by Marc Nagtzaam and Roger Willems. In an edition of 400, signed and numbered

Unbidden Tongues publishes previously produced yet relatively uncirculated work by cultural practitioners busy with questions surrounding civility and civic life—particularly so in relation to language. The first title of the series, Ruth Wolf-Rehfeldt: Introverse Arrangements, is centred on the work of German artist Ruth Wolf-Rehfeldt who, despite only recently garnering attention for her work, is most known for a period of geometric and poetic typewriter drawings produced between the 1970s and 1990 while employed as an administrator for the German Democratic Republic.

Three new limited edition prints of Ruth’s work will also be available on the night, thanks to her gallery ChertLüdde, Berlin, as well as a small exhibition of ephemera surrounding her practice.

The launch will also coincide with an event next door: Shimmer’s next sundowner opening, with the introduction of a sculpture by Ian Kiaer and work-on-paper by Marcel Duchamp to their the current exhibition Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer.

Introverse Arrangements is centred on the work of German artist Ruth Wolf-Rehfeldt who, despite only recently garnering attention for her work, is most known for a period of geometric and poetic typewriter drawings produced between the 1970s and 1990 while employed as an administrator for the German Democratic Republic.

Unbidden Tongues is a series edited by Isabelle Sully that focuses on previously produced yet relatively uncirculated work by cultural practitioners busy with questions of civility and civic life—particularly so in relation to language.

Ruth Wolf-Rehfeldt is a German artist associated with visual poetry and mail art. She is most known for a period of geometric and poetic typewriter works produced between the 1970s and 1990 while employed as an administrator for the German Democratic Republic.

This book aims to collect and present a comprehensive overview of the work of Ruth Wolf-Rehfeldt. It is the result of a long and intense immersion into her archive, and intends to establish the importance of this unique artist – who did not have much recognition in the past—not only to the present day, but also to the precise political context and time to which she and her work belong.

The book presents her typewritings series, all produced between the early 1970s (some of the earliest works are dated 1972) and 1989. Mail Art was her way to be in contact with the world outside the GDR, otherwise impossible to reach. After the fall of the Berlin Wall and the Reunification, the artist stopped producing any art: She felt her involvement was no longer “needed”.

With a text by Zanna Gilbert, edited by Jennifer Chert, designed by Till Gathmann.