A star of minimalist electronica and sound art, Ryoji Ikeda (born 1966) focuses on the building blocks of sound and aural minutiae, often deploying frequencies at the very edges of human hearing-sound that, as he puts it, "the listener becomes aware of only upon its disappearance." His albums "+/-" (1997) and "Matrix" (2001) spread this soundworld of sine waves and ambient glitchery to a wider audience; since then, he has exhibited and collaborated (notably with Carsten Nicolai) across the world. A homage to Musique Concrete pioneer Pierre Schaeffer's "Solfege de l'objet sonore," "Dataphonics "began as a monthly broadcast on France culture's Atelier de Creation Radiophonique, in which Ikeda created a highly physical auditory experience based on the idea of binary-logic data made audible, "to materialize the invisible domain of 'totally pure digital data.'" This book and CD includes spreads of graphic scores, codes, symbols and the composition itself, recomposed from the ten segments in which it was originally conceived.

An exploration of the interaction of aesthetics and politics in Bertolt Brecht's "photoepigrams." From 1938 to 1955, Bertolt Brecht created montages of images and text, filling his working journal (Arbeitsjournal) and his idiosyncratic atlas of images, War Primer, with war photographs clipped from magazines and adding his own epigrammatic commentary. In this book, Georges Didi-Huberman explores the interaction of politics and aesthetics in these creations, explaining how they became the means for Brecht, a wandering poet in exile, to "take a position" about the Nazi war in Europe. Illustrated with pages from the Arbeitsjournal and War Primer and contextual images including Raoul Hausmann's poem-posters and Walter Benjamin's drawings, The Eye of History offers a new view of important but little-known works by Brecht. Didi-Huberman shows that Brecht took positions without taking sides; he used these montages to challenge the viewpoints of the press and propose other readings, to offer a stylistic and political response to the inescapable visibility of historical events enabled by the photographic medium. Brecht's montages disrupt and scrutinize this visibility by juxtaposing representations of war found in magazines with his own epigrams-a "documentary lyricism" that dismounts and remounts modern history. The montages created meaningful disorder, exposing the truth by disorganizing-a process Didi-Huberman calls a "dialectic of the monteur." These works are examples of "the eyes of history"-when seeing may simultaneously deepen and critique historical knowledge. The montages Didi-Huberman argues, are Brecht's most Benjaminian works.

This title features an outstanding showcase of graphic pen and ink illustrations of the talented visual artist Joan Escandell. Contemporary, yet with a nostalgic retro flavor, this title draws on classic styles from various eras, evoking the particular mood and atmosphere of the old, with an intriguing modern twist.

This new book, published to coincide with an exhibition at Kunsthaus Zurich in summer 2017 offers an overview of the development of Mexican graphic art between the late 19th-century and the 1970s, ranging from figurativism to early abstract works. It features around 50 key works on paper, printed using a range of techniques, that deal with issues such as poverty and wealth, love and cruelty, and the poetry and hardships of everyday life. In addition to prints by Jose Guadalupe Posada, there are characteristic Realist works by Leopoldo Mendez, Diego Rivera and David Alfaro Siqueiros as well as abstracts by Rufino Tamayo and Francisco Toledo. Revolutionary ideas and engagement with socio-cultural and socio-political concerns play a key role in the history of Mexican art. The members of Taller de Grafica Popular, a people's graphic art workshop established in 1937 by a collective of international artists in Mexico, produced flyers and posters for the masses supporting trade unions, popular education and socialist issues in the country. Their editions exemplify the typical Mexican tradition of black-and-white woodcuts and linoleum prints. The images depict Mexican life and the customs and characteristics of its indigenous populations, but also include the country's first forays into abstract art. The images are complemented by an introductory essay and brief texts on the artists and featured works. The Mexican Graphic Art exhibition runs from 19 May to 27 August 2017, Kunsthaus Zurich.