This beautifully designed monograph exhibits Elisabeth Wild’s kaleidoscopic and vibrant collages. Using cutouts of commercial imagery from glossy magazines, Wild composes a dimensionless reality that is witty yet menacing, ancient yet immortal. Imagining figures that are structural and anatomical, her work presents a shimmering dream logic.

Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving image works, and their accompanying installations. Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories.

Since his arrival in New York in 1969, the French artist Michel Auder has authored more than five hundred video works that chart five decades of the medium’s history. Employing new video formats as they become available, Auder has prolifically produced short and feature films as well as video installations and photography that transgress genres, gleaning the fields of art history, literature, commercial television, and experimental cinema.

Casco Issues is a magazine published by Casco – Office for Art, Design and Theory, which explores recurring issues that emerge from Casco’s program. The twelfth edition of Casco Issues, Generous Structures, is a playful enquiry into “playfulness” as a value in critical cultural practice. It positions alternative notions of playing against the grain of neoliberal ideologies of “lifelong learning” and “work as play.”

The publication unfolds and draws an open-ended connection between individual and collective struggles and (emotional) conflicts intertwined with the colonial and decolonizing histories of Indonesia and the Netherlands by taking two film works by artist Wendelien van Oldenborgh, No False Echoes (2008) and Instruction (2009), as points of departure.

Moyra Davey’s practice encompasses photography, film, and video, as well as reading and writing. She conceives of the latter two activities as inseparable and equally significant techniques of working: her alert, incisive readings of philosophy and literature prompt new writing, which in turn reflects back on already existing texts, building, as it does, on fragments, memories and quotations.