Tomato Target takes a comprehensive look at the unique artistic work of Annette Kelm and the visual idiom she has developed over the course of her career. The publication contextualizes Kelm’s profound practice—that deftly probes the medium of photography and portrays a simultaneously heterogeneous yet decisive use of subjects to signify and act as telling abstractions within her visually opulent object worlds.

Herewith the Clues continues Boy Vereecken’s research into mass-market literary culture, which began with Signature Strengths (2016). The volume includes two text contributions: a contemporary take on the whodunit novel by Shumon Basar, followed by a tour of the history of the Crime Dossiers by Laura Herman. The book is illustrated with a photo series from Antoine Begon who has unpacked and photographed the pieces of evidence.

This publication documents the 2016 exhibition “One, No One and One Hundred Thousand,” which took place at Kunsthalle Wien, Karlsplatz. Curated by Luca Lo Pinto, the show took its inspiration from Oulipo, a literary strategy whose objective was to propose new “structures” for writing that were mathematical in nature.

The No-Frills book series was developed in the early 1980s as a translation of the non-branding strategy of supermarket staples to mass-market genre fiction. The result of research into this experimental series, Signature Strengths also includes complete reproductions of its books—Western, Mystery, Science Fiction, and Romance.

Part document, part photographic album, this book by artist duo Jos de Gruyter & Harald Thys captures the sculptural revisionings of the descendants of an executioner family from Greifswald in Pomerania, a historical region on the southern coast of the Baltic Sea. The “dirty puppets” are weary, the clothing worn in by history, their story line deadpan and fable-like.

Like a pictorial encyclopedia, Das Wunder des Lebens contains over four hundred drawings that show all that the modern world has to offer, from maps and city views to cars and airplanes. However, unlike conventional pictorial dictionaries, there is no symbolic system. Juxtapositions are normalized, and normality becomes a farce.

At a moment when narrating experiences seems more important than having them, Peter Wächtler’s writing foregrounds different narrative techniques and traditions as means of rationalizing one’s place in the world, of grappling with and giving meaning to one’s existence. Here, the social totality creeps into the picture. Come On compiles ten texts written between 2011 and 2013.