• Kennen Sie Wolfgang Buchta? / Peter Burschel
• Wolfgang Buchta. Kafka / Sabine Solf
• Eine Erschliessung der "Landkarte der Liebe" / Viola Hildebrand-Schat
• vom blätterumblättern / tone fink
• Das verräterische Herz / Marie v. Lüneburg
• Eine diffizile Angelegenheit / André E. Steinhausen
• Before the wall of sleep / Russell Maret
• Strichgespinste / Philipp Maurer
• Die Eroberung des Rationalen durch die Kunst / Elisabeth Parth und Michael Schneider
• Ein paar Gedanken über illustrierte Bücher / Peter Pongratz
• Seuils / Martin Adel
• Noch mehr Bücher! / Turi Werkner
• Die Quellen von Paris / Roman Scheidl
• Mit Respekt / Susanne Padberg
• Das Buch "Hiob" / Eva-Maria Hanebutt-Benz
• Impressum

A detailed look at 40 artists' books created by Peter Malutzki since 1983, with descriptions in the artist's own words.

"Durs Grünbein’s poem “Weiße Verben” is a response to his first encounter with Kazimir Malevich’s painting “Suprematist Composition: White on White” in the New York Museum of Modern Art. Expecting to experience a revelation upon seeing the icon of modern painting, he instead describes his first reaction as a smile, which is quickly replaced by a sense of disappointment. The poem is executed as a watermark and looks ghostly on the white mould-made paper. The white page is contrasted with a colored graphic element, which presents the poem using a graphemic color code developed by the synesthete Eva-Maria Bolz. Each line of color stands for one letter in the text. Each of these two sheets is covered by 10 pages, which are printed with excerpts from Malevich’s manifestos “The Artist” and “Contemporary Art.” The manifesto is screen printed as a negative white text on transparent paper; like the watermark, it is most easily read by holding it up to the light or placing a dark page underneath it. The text layout is based on Strichtarn, a camouflage pattern used in the first half of the 20th century. Watermark moulded in manila hemp, Inkjet printed on kozo-paper, negative screen print on EnDuro Ice-translucent paper, Letterpress on abaca-paper. 2-piece acrylic box with title. 16 x 40.5 cm Edition: 40 copies with Arabic numbering and 6 copies with Roman numbering. Karlsruhe, December 2017."--Artist's website http://www.veronikaschaepers.net/en/books_weisse_verben/

Twenty songs from the Japanese charts from May 26, 1968, each translated or phonetically transcribed into English. Six square white cards with cut tabs, each holding a folded leaf, letterpress printed in brown and orange, that wrap around the card. These printed sheets can be disassembled and laid out to create a large poster. Accompanied by a 7-inch record, Taktatome Tempospur by Dirk P. Haubrich. The sheets and the record are housed in a printed and cut wrapper, which is subsequently housed in acrylic slipcase.

Bilingual text in German and English printed alongside graphic images assigned to corresponding words.

This is the artist's response to her discovery in 2009 of a bundle of more than 100 letters written in German by her grandparents between 1939 and 1941. The letters were sent from Riga, Latvia, to their children, the artist's mother and uncle, who had been sent from Leipzig, Germany, to safety in Memphis, Tennessee. They reveal the story of her grandparents' journey from Leipzig to Riga before their deaths in 1941. The letters were then "hidden in plain signt" in her family's attic for almost 70 years. After the letters were translated into English, the author discovered part of her family's history and was inspired to record her grandparents' lives and to map their journey.

"The peculiar language and involuntary humor of some spam e-mails from Hong Kong, machine-translated into German, and their 'back translation' via a translation program into a not less funny English build the text material of the book. Added are original collages made up of letter envelopes and Chinese Yuan notes"--Artist's statement, Vamp & Tramp Booksellers' website, June 24, 2016.