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Issued without information on cover, but with dust jacket forming a folded poster with title and publishing information.

An exhibition in book form staging a unique encounter between sculpture and photographyBorn out of a close collaboration between Danish artists Marie Lund (born 1976) and Frederik Worm (born 1991), this artist's book expands the physical experience of the exhibition The Falling--staged at Kunstmuseum St.Gallen along with the work of Cally Spooner (born 1983) and Hans Josephsohn (1920-2012)--in print form. Lund invited Worm to document the exhibition, which he did through a series of photographs taken at different times over its duration.Lund's sculptures incorporate materials such as found objects, metal, clay, textiles and concrete, creating shapes that deftly manipulate volume and texture. Responding to their presence, Worm's suite of photographs takes the form of a kinetic trip through the works, favoring proximity and oblique perspectives, blurring the relation between the sculptures and the spaces they inhabit. The Falling is both an experience of the exhibition and a record of the artists' intimate conversation through their respective mediums.

Rarities and ephemera from the life and work of Piero Heliczer--poet, filmmaker, publisher, the Apollinaire of the international '60s avant-gardePiero Heliczer (1937-93) was one of the most important and ubiquitous protagonists of the underground of the 1960s and '70s. Born in Italy, Heliczer lived between London, Paris, New York and Amsterdam; a poet, publisher and filmmaker, he took an active part in Andy Warhol's Factory, filmed the Velvet Underground, and helped Jack Smith on the production of Flaming Creatures. The founder of the Dead Language Press in Paris in the late 1950s, he published Beat poets such as Gregory Corso, as well as the works of Angus MacLise, and was a close friend and collaborator to Tom Raworth, Anselm Hollo and Gerard Malanga.However, Heliczer's work eludes easy classification and stable forms. He preferred the circulation and dissemination of his poetry in broadsheets, little magazines such as Outburst, Locus Solus and The World, and at public readings, in accord with his nomadic, nonconformist life. Piero Heliczer: Poems & Documents retraces his oeuvre, revealing its vital energy and experimental drive through the poems Heliczer published in magazines and periodicals between 1959 and 1979. The poems are presented as facsimile pages from the original magazines, accompanied by reproductions of documents and ephemera, to further highlight the singular printed culture of an era, and the fervent community it nourished.

On the collaborative art of Neïl Beloufa, whose films and installations challenge common perceptions of social relationsThis is the first monograph on the internationally acclaimed French Algerian artist Neïl Beloufa (born 1985). Love, hatred, war, technology, social unrest, bodies and words in crisis: this is the material of which Beloufa's work is made. His films, sculptures and multimedia installations audaciously explore how art can address today's issues, challenging contemporary representations of social relationships, power games, and political and economic structures.An artist favoring collaborations over authorship, and responsive work strategies over predetermined intentions, Beloufa has invented his own work methods, and a particular approach to the studio as a workplace.The catalog presents the artist's projects over the past 12 years, including recent experiments with online platforms and NFTs.

The second in a series of novels that fetishize nightclubs for their inaccessibilityAustralian performer Ivan Cheng's (born 1991) artistic practice is invested in questions around publics and accessibility. Majority is the second installment in his Confidences series, which deploys a version of the vampire and theater as sites for transformation and maintenance.

A critical index of the contemporary human condition in questions and photographs exploring daily lifeAn artist's book by New York-based author and artist Sam Pulitzer (born 1984), The Premise of a Better Life combines photographs with ethical and existential questions addressed to the viewer, in an allegory of the contemporary condition. These photographs of everyday things, ambiguous details, nondescript landscapes and cityscapes were mostly taken in New York, although the city appears as the pale reflection of a model city. Each picture is accompanied by a question: "Can you afford yourself?" "Are you waiting for a moment that just won't come?" "If you knew then what you know now, would it make a difference?" "Do you trust happiness?" The montages offer a complex, personal, at times satirical image of the present age.An original essay by Pulitzer unfolds the project's philosophical and political issues, notably discussing a key reference for the project, Ernst Bloch's The Principle of Hope.