Brian Calvin's disarmingly low-key paintings explore a world populated with androgynous bohemians, skinnies in groups and trippy teenage characters coolly detached and aimlessly gazing out from a sundrenched, Southern Californian backdrop. Something of a celebration of slackerdom, they also reveal the artist's keen powers of observation, rigorous approach to his craft and attention to the formal dimensions of his medium. Calvin's highly stylized figures, flattened pallet and skewed cropping, have earned him comparison with Alex Katz and David Hockney, who he appears to be at once emulating and parodying, while simultaneously referencing music and pop-culture icons. Despite the presence of his cartoon-ish protagonists, the paintings utterly resonate with the principles of abstraction; figures stand as vessels for unplaceable narratives, ones which only unveil themselves through fragments and uncanny reflections. The first comprehensively illustrated monograph of the Californian painter's practice, Brian Calvin is a beautifully illustrated publication spanning over a decade of work and comprising interviews and specially commissioned text, placing the artist's work in a broad art and popular culture context. Calvin's work has been shown in numerous solo exhibitions in U.S. and European galleries, and has been included in group shows such as the California Biennial, Orange County Museum of Art, Newport Beach, Beja to Vancouver, Seattle Art Museum, Seattle, WA (2003); Painting Pictures, Painting and Media in the Digital Age, Kunstmuseum Wolfsburg, Germany; ISHTAR curated by Bruce Hainley, Midway, St. Paul, MN; Giverny, Salon 94, New York, NY; Dear Painter, paint me..., Centre Pompidou, Paris, France. He also recently collaborated with his longtime friend, Raf Simons, lending the Californian ease of his works to the Belgian designer's Spring/Summer 13 collection.

'We are not beggars. I am not here for you to cast your pity at me like breadcrumbs tossed to a cripple. Because I know you're listening to me; and my voice won't be silent, not yet.' Tejas Verdes ('Green Gables'), once a sea-side resort, was an infamous Chilean torture and detention centre during the early years following the Pinochet coup in 1973. Fermín Cabal's humane and powerful play traces the life of a young woman who vanished one night in Santiago. Beneath the tolling of the church bells, her voice and the voices of those who share her story ring out with poetic beauty and overwhelming love.

Ape Culture traces the long cultural and scientific obsession with humanity's closest relatives. In the Western historical representations of modernity, depictions of apes were traditionally used to show the absence of culture. Standing as a liminal figure separating humans and animals, the ape has, since ancient times, played a central role in the narrative of civilisational progress. This book, which appears in conjunction with the exhibition of the same nameseeks, however, to go beyond the mere examination of apes as signifiers of difference. The juxtaposition of artworks with documents taken from popular culture and the history of primatology gives the reader an insight into what the science historian Donna Haraway has termed the primate order -- a hall of mirrors reflecting the scientific and cultural projections that turned the ape from an instrument of humanity's self-definition into an integral element in testing out the possibility of reconstructing human nature. Ape Culture will be shown at the Haus der Kulturen der Welt from 30 April to 6 July 2015.

This volume discusses the music-related works and collaborative projects of Dieter Roth in Concrete poetry, the Vienna Group, Fluxus and artists' music. It includes a DVD with an excerpt from the video recording of the Abschöpfsymphonie of 1979.

Footballers and film stars: recent work by Rose Wylie, painter of the deceptively simple Rose Wylie (born 1934) is the third artist to participate in an exhibition collaboration between the Royal Academy and the Gallery at Windsor, Vero Beach, Florida. This book accompanies her show and features an interview with the artist by Tim Marlow, Artistic Director of the Royal Academy, and an essay by the actor and art collector Russell Tovey. The exhibition comprises new paintings and drawings--wittily observed and subtly sophisticated meditations on the nature of visual representation itself. Using images as a prompt, Wylie often works from memory, and the associated works on a single subject offer an insight into her complex creative process. Wylie's work has been the subject of renewed critical attention in recent years, with major shows in Europe at venues including the Turner Contemporary, Margate (2016), Serpentine Sackler Gallery, London (2017), Tate Modern, London (2018) and the Centro de Arte Contemporáneo, Málaga (2018).