Some words on, and images of, fernglas (binocular). Featuring: Merry Alpern, Big Zis, Tobias Brücker, Sophie Calle, Anne-Catherine Eigner, Ingo Giezendanner, Charles Negre, Niklaus Rüegg, Paul Scheerbart, Kohei Yoshiyuki, et al.

On Acid presents a radically subjective re-edit of the history of drug experience, following the emergence of drugs as a technology and modernity’s conflicted obsessions with altered states. Tracing a path beginning with philosopher Benjamin Blood’s 1874 pamphlet ‘The Anesthetic Revelation and the Gist of Philosophy’ which declares the existence of a ‘majesty and supremacy unspeakable’ observable only after being dosed by nitrous oxide, On Acid assembles texts and images that draw a line connecting archival works by William James, Antonin Artaud, Timothy Leary, and various modernist explorers, to the practice of contemporary artists such as Rodney Graham, Francis Alÿs, Jonah Freeman and Justin Lowe. Removed from the familiar cultural contexts of Haight-Ashbury and Grateful Dead psychedelia, On Acid is in itself an experimental program, a recursive acidic process that mirrors the deconstructive relations to counterculture cultivated in contemporary art. The book concludes with a series of new conversations with Freeman and Lowe, Hamilton Morris and Arik Roper.

Recorded in Baltimore in May 2011, Live marks not only the first ever vinyl release from The Kingsboro Press, but also the first officially released project from longtime friends, colleagues, and schemers Seeno and Sigler. 3 tracks from Seeno (ex-Ponytail) highlight his uniquely ambient and immersive new age-tingled solo work, alongside 2 poems read from New York-based poet Sigler. L.L. Being, an accompanying text (a dialogue between Sigler and Seeno that covers everything from 2 Fat Ladies and Being There, to Windham Hill and khakis) is available here .

A new collaborative artists book from Baltimore-based painters Armacost and Planck. Sourcing their longstanding and fervent correspondence, Shit Karmas scrutinizes all elements of artistic practice, from grandiose pursuits to foolhardy routine. Deeply rooted in painting, Armacost and Planck have etched out a collaborative process in which every element informs the next, and drawings and paintings are endlessly referenced and parodied in a seemingly-endless back and forth interchange between artists.

*Note: mimeograph printed on matte coated paper (ink may transfer during handling).

Issue 112, Exhibition Practices, include Jesse Birch, A Sea of Contingencies: Durational Projects, on Sabine Bitter and Helmut Weber’s A Sign for the City and Cate Rimmer’s curatorial project, The Voyage, or Three Years at Sea; Philip Monk, Some Like it Haute, on the General Idea Retrospective at the Art Gallery of Ontario; Caroline Seck Langill, Me Calling Him — Him Calling Me, on Tom Sherman’s recent video work; Denise Frimer, Paris/Ojibwa, an interview with Robert Houle; and Tatiana Mellema, New Experiments in Communal Living, looking at projects including the La Commune.

Exhibition reviews include Taryn Simon: A Living Man Declared Dead and Other Chapters, at the Tate Modern; Art Ex 2011, in Grand Falls-Windsor, NFLD; Pavillon levé (dix jours à vaincre les mortes-eaux), at Circa Gallery, Montreal; The Normal Condition of Any Communication, at TPW in Toronto; Gwen MacGregor and Sandra Rechico: Backtrack, at A trans Pavilion, Berlin; The Art of Eating, at CX Catalunya Caixa Obra Social, La Pedrera, Barcelona; Louise Bourgeois: El Retorno de lo Reprimido, Fundación Proa, Buenos Aires; Haven’t We Been Here Before?, at Platform Centre for Photographic + Digital Arts, Winnipeg; New Photography 2011, at the Museum of Modern Art, New York; and Carl Beam: The Poetics of Being, at the National Gallery of Canada, Ottawa. Also included in issue 112 are book reviews and an artist project by Alex Wolfson.

Fillip is a publication of art, culture, and ideas released three times a year.

Fillip 15 initiates a new, ongoing series of texts entitled Apparatus, Capture, Trace examining the links between biopolitics and photography. The series opens with essays by Saul Anton on Osama bin Laden and Gabrielle Moser on the work of Jon Rafman, alongside an introduction by series editor Kate Steinmann.

The issue continues essays from the Intangible Economies series, which is the focus of a three-day forum co-organized by Artspeak. Presenting speakers include Melanie Gilligan, Hadley+Maxwell, Candice Hopkins, Olaf Nicolai, Monika Szewczyk, and Jan Verwoert, as well as series editor Antonia Hirsch. The event will be broadcast worldwide on Livestream.

The issue also investigates WikiLeaks: Axis of Reputation, a research-based project by Metahaven produced in conjunction with Fillip 15. Part of Metahaven’s ongoing Transparency, Inc. (2010–), the work interrogates the constantly fluctuating image politics of the online whistleblower Web site WikiLeaks.

1. Christian Hänggi on Stockhausen and 9/11
2. Christian Nagler and Joseph del Pesco on curating and algorithms
3. Chris Fitzpatrick and Post Brothers on parasitical practices
4. Christina Linden on survivalism and sustainability
5. Peta Rake on artist-run initiatives in Brisbane
6. Plus a Criticism Roundtable with Julian Myers, Tara McDowell (the Exhibitionist), and Alexander Provan (Triple Canopy), among others

Ein Magazin über Orte (A magazine about places) is published twice a year. Each issue deals with a different place. The magazine collects works of various authors in the form of photographs, drawings and texts.

The photo book Travelling Across the USA shows photographs by passionate amateur photographer and then student of theology Paul Gerhard Diez which he took during a journey across the USA in 1954. The photographer wrote a short comment on each picture.

Travelling Across the USA is published in a German and an English edition, with an accompanying essay by journalist Georg Diez, the photographer’s son.

L’après-midi chez Jean-Guy (Afternoon at Jean-Guy’s) is a booklet by Maxime Harvey and Isabelle Campeau. Jean-Guy lives in a suburb near Montreal. The photographs are documentation of various objects that Jean-Guy made out of existing objects, packagings or waste. From a water heater to various type of stilts, these patched objects seem mundane but they demonstrate many uses and diversions of everyday life that are not often documented.

For several year, Bastien Aubry and Dimitri Broquard have been making work inspired by outsider art or the applied arts like handcrafts or ceramics. It appears as if they both don’t think much of rules and that they just spontaneously adapt their ideas. That makes their work fresh and full of expression. In the Beginning it was Humid — their fourth publication with Nieves — features a broad selection of their ceramic works from the last few year, and concludes with a short story by A.C. Kupper.

Bastien Aubry (1974) and Dimitri Broquard (1969) established the two-man design studio Flag in 2002. They work for art and cultural institutions, producing catalogues, artists books, magazines and posters. FLAG also creates drawings, illustrations for editorials and private projects. Both Broquard and Aubry respectively teach at art schools in Switzerland.