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Francis Bacon - Antoine D'agata Aesthetic Parallel Of Two Visceral Works

The Eyes 2020 ISBN 9791092727425 Acqn 31118
Pb 16x23cm 96pp col ills £54.50

Presented as a double book, this publication combines 27 photographs by Antoine d'Agata and
25 graphic works by Francis Bacon, establishing an artistic parallel between their respective
practices. A preface by Bruno Sabatier, text by Lea Bismuth, and poem by Perrine Le Querrec
are included as an autonomous insert. The artists' juxtaposition meanwhile plays on themes of
horror and compassion. D'Agata is known for immersing himself in personal universes until he
exhausts them, transforming reality into blurred images, where the deformation of bodies occurs
in the animality of sexual intercourse and drugs, mirroring Bacon's deformed, expressionist flesh.

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MsHeresies #2 - Useful Work Versus Useless Toil

Rietlanden Women's Office 2020 no ISBN Acqn 31150
Pb 19x30cm 32pp col ills £11.25

This is the second publication in the MsHeresies series from the Amsterdam-based Rietlanden
Women's Office, a collaboration between graphic designers Johanna Ehde and Elisabeth
Rafstedt that engages in self-initiated, research-based graphic design and publishing. The
instalment's main text is a remediation and republishing of the lecture "Useful Work versus
Useless Toil" (William Morris, 1884), along with text and image material from the book 'The
Sisters' Arts', which examines the working relationship of sisters Virginia Woolf, a writer, and
Vanessa Bell, a painter. As such, it investigates the topic of work and the possibilities of
collaboration from a feminist perspective.

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MsHeresies #3 – Amniotechnics
Rietlanden Women's Office 2020 no ISBN Acqn 31151
Pb 19x30cm 24pp col ills £16.35

The third part of the MsHeresies series republishes "Amniotechnics", an essay by feminist
theorist Sophie Lewis, alongside material from 'Triple Jeopardy', a publication made in the early
1970s by the Third World Women's Alliance. The essay talks about reproductive labour from a
queer, Marxist point of view, and about anti-work, pregnancy, water protection, and the meaning
of borders, both geographic as well as bodily. The visual essay in this issue stems from looking at
'Triple Jeopardy' through the lens of graphic design and how it was collaboratively produced.
Includes contributions from political activist Frances M. Beal and filmmaker Christine Choy.

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Katja Mater - Time Is An Arrow, Error

Katja Mater 2020 ISBN 9789090337982 Acqn 31113
Pb 17x21cm 192pp col ills £28.50

Katja Mater's series 'Time is an Arrow, Error' entails layers of duration. The process begins with a
drawing of half an analogue clockface. The drawing is then photographed in natural light,
producing two separate negatives that each capture the image over different extended
exposures. Subtle shifts in light lead to variations in colours and, in some cases, the uneven
transcription of shadows on the photographic plate. Finally, one of the two semicircles is flipped
or rotated, resulting in a whole clock formed by two irregular halves. The steady passage of
mechanised time is thus expressed in imprecision and irresolution. Designed by Elisabeth
Klement and with a text by Amelia Groom.

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Vincent Namatjira - The Royal Tour

Perimeter Editions 2020 ISBN 9780648680185 Acqn 31115
Pb 24x32cm 48pp col ills £32.50

Despite finding their bearings amidst the pillars of colonialism, power, and First Nations identity,
Vincent Namatjira's paintings are almost impossibly light and personal in their candour. Issues of
race, politics, and empire coalesce with humour, humility, and personal narratives. 'The Royal
Tour' is his first artist's book, and was created while in lockdown in remote Central Australia
during the pandemic. It presents a group of works that are as intimate as they are interventionist,
wherein Namatjira inserts himself into the pageantry and state occasions depicted on the pages
of commemorative photobooks of the British royalty, which he came across at second-hand
shops in Alice Springs.

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Natascha Schmitten – Phosphor

Grass Publishers 2020 ISBN 9783946848080 Acqn 31174
Pb 21x28cm 108pp col ills £33.75

At first glance, Natascha Schmitten's paintings appear as abstractions and movements in paint.
With their overlapping and colliding parts, lighter and denser areas of colour, curving strokes and
sharp delineations, her works are complex compositions that evoke dynamism and action.
Schmitten uses ink and oil paint on nylon rather than canvas, applying countless fine layers and
glazes, a fact which gives her paintings a unique surface structure and translucency along with
hints of figuration. This alternation of indeterminacy and clarity engages the viewer in a
sensuously visual experience. With 'Phosphor', she presents works shown at Galerie Christian
Lethert in 2018.

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Mitsuru Koga - Driftwood Dinosaurs

Utrecht 2020 no ISBN Acqn 31176
Pb 30x22cm 24pp col ills £29.95

Japanese artist Mitsuru Koga is interested in the relationship between the natural processes of
disintegration and our imaginative drive to reconstruct. As an artist, his ability to infuse life into
seemingly mundane materials and transform them into objects of art is both novel and inspiring.
Dinosaur fossils appear to be the pieces of a jigsaw puzzle which was disassembled by time, one
of nature's most powerful forces. Each piece in Koga's series of realistic dinosaur skeletons,
which he made by carefully arranging pieces of driftwood, lies exposed in the landscape as if
recently uncovered after millions of years. With these objects, he explores the relationship
between humans and nature.

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Autonomous Archiving
DPR-BARCELONA 2020 ISBN 9788412039061 Acqn 31178
Pb 11x18cm 212pp col ills £17.50

Institutional archival practices often tend to serve the legacy of colonisation, surveillance, and
discipline in our modern society. Over the past decade, with the rapid rise of digital technology
and social networks, detecting, recording, and accumulating images has become commonplace.
This has resulted in the archiving of videos and other types of visual images through non-
institutional bodies and practices, as well as discussions related to image, open source,
collectivity, and forensics. This book gathers writings by several authors about their practices and
views on archives from different perspectives (forensics, decolonisation, and commons) and
includes interviews with video activists.

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Life In Kyoto - Arts In Seasonal Delight

Seigensha Art Publishing 2020 ISBN 9784861527944 Acqn 31179
Pb 18x24cm 240pp col ills £36.50

Besides the four distinct seasons of spring, summer, autumn, and winter, the Japanese calendar
recognises more nuanced seasonal changes in a subset of 24 periods that reflect the weather or
the current state of flora and fauna. Although these slight transitions are quite difficult to perceive
in our fast-paced modern lives, we are affected by them nonetheless. Also artworks cannot exist
without a relationship to the seasons. This volume introduces works connected to these 24
seasonal periods, with a focus on artists who have deep ties with the city of Kyoto. The seasons
are expressed in subtle details, such as the subject of a painting or the design of a kimono or
ceramic vessel.

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Sae Honda – Anthropophyta

Torch Press 2020 ISBN 9784907562250 Acqn 31192
Pb 14x19cm 176pp col ills £40.50

A semi-fictional encyclopaedia, Sae Honda's 'Anthropophyta' is grounded in the idea that

fabricated plants have been accepted as part of the botanical categorisation of plants. These so-
called "artificial plants" are never scientifically observed or researched like their natural
counterparts, yet their infiltration of our everyday lives is widely evident. Honda's fascination led
her to factories in China that produce these plastic plants, as well as to other sites in Japan and
the Netherlands, where she diligently collected dozens of samples. In a humorous twist, her
meticulous documentation includes photographs of the leaves accompanied by detailed
academic descriptions.

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Danielle Lemarie - You Know I am Not There

Eriskay Connection 2020 ISBN 9789492051615 Acqn 31199
Pb 24x32cm 120pp col ills £36.50

'You Know I Am Not There' is a line from the song 'Know' by English singer-songwriter Nick
Drake. He was well-known to a small circle of fans in his time and died in 1974 at the age of 26.
Now, Drake has achieved true cult status and is seen as one of the most important singer-
songwriters of the twentieth century. Visual artist Danielle Lemaire traced his footsteps, immersed
herself in his mystical view of the world, and sought contact with 'Drakeheads', resulting in a
series of drawings. In her work she plays a sophisticated riff on presence and absence, on truth
and fantasy.

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