Forthcoming

Walter Benjamin: Dreams

Fall 2024

Edited with text by Burkhardt Lindner

Though published during his lifetime, Walter Benjamin’s dream notes and theoretical reflections on dreams are collected here for the first time in a single volume.

Dreams highlights a dimension of Benjamin’s thinking that was invaluable for his writing and thought but which has thus far received little attention. It is a comprehensive and chronological collection of Benjamin’s transcriptions of his own dreams and includes unpublished manuscript materials. The publication also features his theoretical reflections on dreams, ranging from short aphorisms and longer analyses of dream literature and the history of dreams to the political conception of a “dreaming collective” and its awakening.

Editor Burkhardt Lindner describes Benjamin’s literary approach to his own dreams in the epilogue and gives a sketch of Benjamin’s own definition of the dream sphere, independent of and in contrast to Surrealism and Freud’s interpretation of dreams.

Patricia L. Boyd
Exposure

Fall 2024

with texts by Patricia L. Boyd and Josephine Pryde

edited by Gloria Hasnay and Kunstverein München, accompanying the exhibition ‘Hold‘ in 2021

Published several years after the fact, “Exposure” is a catalogue for Patricia L. Boyd’s solo exhibition “Hold” at Kunstverein München in 2021. Taking into account the interval of time between exhibition and date of publication, “Hold” is reconsidered by Boyd as mediated through its documentation—both official documentation as well as photos, videos and notes made by the artist at the time. Since “Hold” took place during the pandemic, the exhibition’s mediation was an integral part of how it was originally conceived and installed. The book engages with formal questions that are central concerns elsewhere in Boyd’s practice and contains a newly commissioned essay by artist Josephine Pryde.

Boyd’s work finds form through an enquiry into its own matters of production and presentation, and often extends to address infrastructures—physical, economic, institutional—within which it is made and exhibited. Encompassing sculpture, photography, writing and video, it is often characterised by a display of the negative: through inversion, elision, removal.

deigns by Scott Ponik