Orde.Kosmos retraces the work of textile artist Aliki van der Kruijs since the beginning of her studio practice in 2012. The book compiles scans of her research archive, accumulated and carefully assembled over the years in twenty-four different folders. The different layers of notes, annotations, drawings, mind maps, fabric samples, newspaper clippings, are a witness through time to her ideas, processes and inspirations. The book aims to offer a generous and never seen before insight into her practice and invites the reader to wander through her singular way of thinking and creating.

In April 2022, artist Judith Neunhäuserer sailed along Svalbard with The Arctic Circle  –  Artist & Scientist Residency Program. Two months before the trip, she started keeping a diary. There were twenty-five other artists on board the ship as well as eleven crew members. She interviewed one of them each day, following a fixed catalogue of questions. Old Ice and Us melts together weather situations, body sensations and primary emotions, gallery and archive visits, IPCC reports and therapy sessions.

The Consequences is a hybrid collection of prose and poetry; an autofictional examination of the pain of a transatlantic relocation from New York to the blanketing beige of Paris to rejoin a totemic muse. It also focuses on corgi attacks, Maryland, painful anxiety, the struggle to accept the things one cannot change, the third party and the past as adamantine shackles. The "towering sexual iconography of Mike Immerman" looms over the disorientation of a reluctant resident in “the City of Light.”

Country Lesbians: The story of the WomanShare collective is a book co-authored by five lesbian women who settled in a self-contained community in Southern Oregon in the 1970s: Sue Deevy, Billie Miracle, Nelly Kaufer, Carol Newhouse and Dian Wagner. In the summer of 1973, they sought to escape the masculine and patriarchal culture of the big city. Joined by Sue Deevy and Nelly Kaufer, they bought their land and founded WomanShare, a separatist community where they lived, built, farmed and wrote independently.

What is this life if, full of care,
We have no time to stand and stare? –

A facsimile of a 1973 Something Else Press gardening book – the press had then relocated to Vermont, with a shift towards the publication of such lifestyle guides. Hand-drawn and ilustrated by Linda Larisch.

This publication constitutes a continuation of “Melody,” the installation created by David Douard for the 2022 edition of Sculpture Garden (Geneva), which was subsequently vandalized. This last point is at the heart of the book, which presents a graphic section bringing together reproductions of preparatory works for the piece, plates of images of the work in situ, and a discussion between the artist and the curator Devrim Bayar dealing with the status of this work during and after degradation.

This book is a colourised version of the 1828 Pâtissier Pittoresque. First published by french pastry chef Antonin Carême, it gathers more than a hundred sugar sculptures, all served on the buffet table of Emperor Napoleon I and king Louis XVIII. Known in the cooking world for their elegant sobriety, the blueprints of these sculptures were, as of today, always published in black and white. Yet, the author refers to more than thirty of them in his introduction, instructing how the sugar paste and biscuit should be coloured to create the desired effect. Thinking himself more as an artist than as an artisan, this new colourised version is a testament to Carême’s effervescent creativity.

RUSTIQUE is an artist book created by Nicola Godman. This book is sprung out of a residency in September 2021 at Hôtel Chevillon, a former Scandinavian artist colony in Grez-sur-Loing, France. Barbizon, the village where the painter Jean-François Millet (1814–1875) lived and died, is located 20 km away from there. The book interweaves the life and work of Millet with Godman’s photographs, drawings and personal anecdotes. RUSTIQUE wishes to put forward the artistic gaze towards rural life by artists who themselves are born peasants.

The Gharīb Pocketbook ֊ a portable companion to the Pavilion of Armenia at the 59th Venice Biennale ֊ gathers various sources that were important for Arutiunian’s research into sonic dissent, vernacular knowledges, and forms of peripheral thinking. Disparate excerpts of stories, essays, recipes, spells in multiple languages, tones and voices all went into this book, which acts as an alternate catalogue of the Pavilion.

The Book of Gharīb is a limited-edition artist book published in collaboration with the Lucerne-based Hallow Ground label. The hardcover book contains essays by Andrius Arutiunian, Jason Bahbak Mohaghegh and Anna Della Subin, together with monochrome photos connected to the notion of Gharīb.

The Convent of Pleasure is a play written by Margaret Cavendish in 1668. The play is a comedy about noblewomen who choose to retreat to a convent to create their own community in order to avoid the constraints and pains of marriage and men. Lady Happy, the main protagonist, ponders the question of a radical alternative to marriage: “But why may not I love a woman with the same affection I could a man?” This book is a close reproduction of the first printed edition of the play, which was supervised and edited by hand by Cavendish.

La Paresse gathers the researches and creations of the artists in residency during the third edition of La Verrerie. The body of the book is constituted by texts gathered and written by the artists, and the back part by images documenting the works and activities during this month of group research around the notions of boredom, resistance, revolution and laziness as a form of activism.

La Magie gathers the researches and creations of the artists in residency during the second edition of La Verrerie. The body of the book is constituted by texts written by the artists and the back part by images documenting the works and activities during this month of group research around the fields of believes, language, translation, transformation and magic.

L’Amour gathers the researches and creations of the artists in residency during the first edition of La Verrerie. The body of the book is constituted by texts written by the artists and the back part by images documenting the works and activities during this month of group research around the fields of care, romanticism, transmission, sexuality and love.

Enlevés à Bougie is a visual archive compiling documents from the kidnapping of a French state employee during the War of Independence, in 1960, Béjaïa, Algeria. This personal document literally unboxes a family story and shows its intrication with colonisation and more broadly how government decide over people’s life, self determination and justice.

Vice Versa is the first known lesbian magazine in the world. Lisa Ben wrote, edited, printed and distributed the magazine for nine months in Los Angeles in the late 1940s. This publication gathers the nine issues she has published.

Computers at Work presents an overview of the role women played in the building and shaping of the computing field from the 18th century to the present day. It aims to articulate in what way women’s systematic erasure from history has transformed computing from being perceived as “women’s work” to an industry that is largely hostile to them.

Newspaper produced on the occasion of the exhibition “The Great Blueness” by artist and ceramist Louise Moins at l’Espace Ness (December 2018). The title of the show was borrowed from the eponymous tale written in 1968 by American author Arnold Lobel which the artist used as a starting point for the creation of her works and republished in the form of a bilingual newspaper. The edition displays work in progress compositions made by the artist as part of her process for making the mural installations.

AP0KRYFERNA – NATTB0K is a collection of poems written between 2014 and 2018 by artist Alexander Sand. The book consists of two parts AP0KRYFERNA and NATTB0K, put together as one publication. The book is accompanied by a bookmark with the url for its translation.

This reader was published at the occasion of The Paint by Number Museum, a project conceived in collaboration with Francois Girard-Meunier in the context of the 27th edition of the Brno Biennial’s OFF Program. The Paint by Number Museum was an installation which is the result of an investigation and speculations within this field. Its intention is also to stress the possibility of subversive painting by numbers practices. It is a negotiation between “authentic” objects of documentation and fictional artifacts.