Late works are messages from the edge: the edge of relevance, the edge of health, the edge of death. They face mortality or insignificance while also telling stories about persistence—about what it means to make art despite a lack of a future horizon. In an art context that is increasingly defined by precarity and crises, late works can teach us a lesson about how to keep going.

Twilights: Essays on Artists’ Late Work, edited by Henriette Heise emerged from a seminar at the National Gallery of Denmark in 2024 and features fourteen contributors from both artists and art historians. Alternately elegiac, anecdotal, and theoretical, the essays consider late works by Anna Ancher, Astrid Noack, Derek Jarman, Dieter Roth, Dora Maar, Elisa Maria Boglino, Ernest Mancoba, Félix González-Torres, Franciska Clausen, Käthe Kollwitz, Louise Bourgeois, Lutz Bacher, Michael Asher, Phyllida Barlow, Stuart Brisley, Tony Conrad, and Yong Soon Min.

Tackling the question of late work from a variety of perspectives—from art historical investigations to personal memories—many of the essays share an interest in questions of ephemerality, incompleteness, and finitude. The authors relate these formal qualities to specific experiences of loneliness, grief, joy, retrospection, exclusion, and the feeling of time passing. By focusing on artists who persisted in the midst of transformation and limitation, these essays help us find a way of thinking about our futures.

Featuring contributions by: Julie Foged Kristensen, Henriette Heise, K Vang, Andreas Rønholt Schmidt, Dorthe Aagesen, Karen Westphal Eriksen, Mathias Danbolt, Christian Vind, Birgitte Anderberg, Sebastian Hedevang, Pia Rönicke, Maria Zahle, Steven Zultanski, and Guston Sondin-Kung.

15 cm × 21 cm
176 pages
Softcover

Designed by K Vang

Published May 2026

ISBN 97887-85336-16-3

Supergrafik documents the work of Danish architect Flemming Skude and his exploration of large-scale graphic interventions from the 1969 to 1982.

The publication draws on Skude’s analogue archive of sketches, working drawings, and photographic material—fragments of a practice where colour, pattern, and typography are used to activate architectural surfaces and transform spatial experience.

Bringing together projects across Denmark, the book includes works in public space, private commissions, and experimental installations. Rather than following a strict chronology, the material unfolds as a visual sequence, allowing recurring motifs, gestures, and spatial ideas to emerge across time.

Primarily image-driven, the publication foregrounds the energy and immediacy of Skude’s interventions, positioning the work between architecture, graphic design, and art. The book opens with an introductory text by William Pym, offering a concise presentation of Skude’s practice and an outline of supergraphics as a phenomenon.

This publication is conceived both as a retrospective and as a source of inspiration for a new generation of architects and graphic designers—encouraging a renewed exploration of supergraphics within future architectural and design practices.

17 cm × 24 cm
224 pages
Hardcover
Languages: Danish, English
Designed by Hans Munk & Thomas Teilmann Frederiksen/Rama Studio

ISBN 978-87-85336-12-5

Capacity takes its point of departure in Asta Lynge’s first solo exhibition in Germany, presented at Overbeck-Gesellschaft in Lübeck. The publication offers the first comprehensive insight into Lynge’s practice and unfolds as a document of her work within an international context.

Centering on the installation Audience, shown in its largest iteration to date, the book traces Lynge’s ongoing investigation of symbolically charged everyday objects. Presented as a site-specific work spanning approximately 30 meters, Audience deconstructs the Chesterfield sofa—an enduring emblem of wealth and social prestige since 18th-century Britain. The series exposes the sofa’s underlying structure, stripping it of function and rendering it as a skeletal framework. This gesture of revealing, dismantling, and reconfiguring is carried through into the publication itself, where the design reflects the conceptual concerns of the works.

Alongside documentation of the exhibition, the book brings together research and material developed over the past three years, offering a deeper understanding of Lynge’s process. A series of texts expands the scope of the publication. Paula Komoss situates Lynge’s work within broader art historical and socio-political contexts, while Line Ebert reflects on the symbolic dimensions of everyday objects and shifting cultural notions of value. A text by Oliver Corino unfolds as a parallel narrative to the exhibition. The publication concludes with a conversation between Lynge and Komoss, addressing a new body of work centered on cultured pearls as a metaphor for human intervention in natural processes—opening reflections on artificiality, control, and the reproduction of nature.

11,5 cm × 24 cm
184 pages
Softcover with dust jacket

Designed by Sophie Keij

Co-published with Overbeck-Gesellschaft April 2026

ISBN 97887-85336-11-8

In BTS, Takashi Homma turns his lens toward the unnoticed rituals of protection and concealment that shape everyday life. Shot primarily in Tokyo—with detours to Colombia, Hawaii, and beyond—the book gathers images of covered cars, wrapped trees, shuttered windows, snow-draped landscapes, and figures layered in clothing until their faces disappear.

What emerges is a quiet study of surfaces, shields, and the spaces between what is shown and what is hidden. BTS reveals a world perpetually preparing, preserving, or holding something back—an unseen choreography unfolding just behind the scenes.

14,5 cm × 24 cm
120 pages
Softcover with dust jacket

Published December 2025

ISBN 97887-85336-10-1

Pardon Me examines the strange political theatre of the annual U.S. presidential turkey pardoning ceremony.Long staged as light entertainment, this ritual masks a far darker logic: a grotesque parody of sovereign power and its ability to decide who may live and who may die.

Drawing on thinkers such as Giorgio Agamben, Alenka Zupančič, Carl Schmitt, Freud, and Foucault, the book reveals how the turkey pardon dramatizes the state’s desire to define the boundaries of humanity itself. In this carnivalesque reversal, the turkey is lifted from “bare life” into the symbolic embrace of the law, while millions of others are condemned without ceremony. The accumulation of images creates a quiet counterpoint to the absurd ritual they emerge from.

Pardon Me exposes the uneasy laughter that surrounds state power when it masks its violence behind spectacle. Through a minimal, almost documentary presentation, the book reflects on decision, authority, mercy, and the unsettling theatre of the modern sovereign who jokes about his own power as he exercises it.

15 cm × 20 cm
80 pages
Hardcover

Co-published with Kode Bergen, December 2025

ISBN 97887-85336-07-1

Between 2021 and 2024, the body of work titled Tetra was produced from 35 mm slides dating from the 1960s to the 1990s and presented as slide projections. Composed of 243 images in three sets of 81 (Tetra I, II, III), the series reinterprets found photographic material, tracing how images record, circulate and transform across time.

For Tetra AL, selected slides were translated into lithographic prints on pre-sensitized anodized aluminum plates. These industrial plates, designed for short-run offset printing and typically single-use, were retained and repurposed, transforming disposability into longevity. On the reverse side of each plate is a developed negative from another slide, linking the works in a material, visual and conceptual sequence.

The imagery moves between the natural world, the built environment and human life, each suggesting different temporal scales. A recurring square aperture punctuates every image, introducing absence as a structural and perceptual element.

The work reflects on how technological change alters the conditions of photography—from analog selectivity to digital abundance—and how perception, memory and consciousness intertwine in the act of seeing, revealing the unstable and elusive nature of subjective experience.

26 cm × 28 cm
88 pages
Softcover

Published November 2025

ISBN 97887-85336-09-5

Writings is a collection of essays. Footnotes, indexes and image sections form an intentionally distinct parallel text, creating a dynamic and layered experience, a moiré pattern of readings rich with references as they weave in and out.

Echoing Kolding’s visual art practice, the essays feature excerpts and collaged elements from literature, visual art and music—writings constructed by use, re-use and re-contextualisation of carefully chosen source material. Widely varied sources are put forward to pursue and explore the book’s recurring themes, central among which is exploring possibilities (or impossibilities) of critiquing a dominant system—to which there appears to be no outside position—from within. 

Writings establish conversations between a wealth of voices. Writers include Ishmael Reed, Lydia Davis, Cecil Bødker, Clarice Lispector, John Cheever, Philip K. Dick, N.H. Pritchard, Eugene Lim, Hans Scherfig, Inger Christensen, Honoré de Balzac, Herman Melville, J.G. Ballard, Eva Figes, Georges Perec and Marguerite Duras. Musicians such as Boy George, Autechre, Scan 7, Else Marie Pade and Madonna make appearances as well as movies The invasion of the Body Snatchers and Minority Report and the Danish television classic Op på ørerne vi er kørende. The Habsburg Empire play a part as do artists Felix Gonzales-Torres, Christopher Wool, Dea Trier Mørch, Ghislaine Leung, Mierle Laderman Ukeles, Lee Lozano and Tehching Hsieh. To name but a few.

In these meetings stories of money and ownership, work and non-work, authorship and authority, identities and identification are told and shared with the reader, as each reading suggests further readings.

Writings can be read as a meditation on the very methods and subjects that define Kolding’s practice in general, a journey through the looking-glass of influences and references. As such this is Kolding’s most personal work to date, exploring and exposing the methods and concerns at the heart of his work.

The book is published with two different covers: Cut Up and Spray Back of All Minds Living and Rip It Up and Start Again.

11 cm × 18 cm
320 pages
Softcover with jacket

Published September 2025

ISBN 97887-85336-04-0

In 1967, the American artist and pioneer of the Land Art movement, Robert Smithson, published the text A Tour of the Monuments of Passaic. The text revolves around Smithson moving through his hometown of Passaic, pointing out and exposing – with his Instamatic camera – the city’s “most important” monuments. When Smithson runs out of film, he takes a break at The Golden Diner in Passaic Center. However, he does not experience it as a ‘center’ – a midpoint – but rather as something closer to an abyss or a void.

Decades later, the Danish artist Joachim Koester writes the text The Land That Time Forgot – Robert Smithson’s Photographs from Passaic, about Smithson’s text and photographs, but also describes Koester’s own walk through Passaic in 2005. Although Passaic has changed significantly since the late 1960s, and The Golden Diner is now a Dunkin’ Donuts, Koester writes: “…that the word ‘Center’ should still be taken with a grain of salt.”

A Short Guide to Passaic, New Jersey brings together the two texts in direct dialogue – in Danish – for the first time, and serves as a guide for those who wish to delve into Robert Smithson’s now iconic text or make their own way to Passaic, New Jersey.

The zine is published in collaboration with Ransby Editions.

15 cm × 21 cm
24 pages
Softcover, saddle stitched
Designed by Martin Ransby and Hans Munk

Published September 2025

ISBN 97887-85336-05-7

Published as appendix to the Yvonne Rainer Retrospective (November 6-28 2024), organised by Terrassen at Palads Cinema, Copenhagen.

Yvonne Rainer (b. 1934) needs no introduction. One of the great American artists of her generation, she revolutionised dance and choreography in the 1960s. Yet over the course of two decades - from the early 1970s to the mid-1990s - Rainer also directed seven feature films, each intensely discursive and consistently inviting critical reflection. Radically diverse and impossible to categorise, her films carve out their own space between documentary, fiction, performance, and the avant-garde. For decades, these films have been difficult to access, and when shown, they were often confined to small monitors in large museum settings. Now, newly restored in 4K, they were presented in a retrospective by Terrassen in 2024 - the first of its kind in Denmark. The retrospective culminated in the publication of a new Yvonne Rainer filmography, with contributions from Babette Mangolte, Ursula Andkjær Olsen, Mira Adoumier, Emily Wardill, Emily LaBarge, Amelia Groom, Valérie Massadian, Iman Mohammed, Frida Sandström and Yvonne Rainer herself.

Extended edition
11 cm × 19,5 cm
176 pages
Softcover

Published August 2025

ISBN 978-87-972616-9-9

A compendium of long read conversations originally printed between 2009 and 2025 in Twin magazine, where Francesca Gavin has been Art Editor since its inception. The text-only paperback publication includes interviews with the following international artists:

Amanda Ross Ho, Anthea Hamilton, Bod Mellor, Cameron Jamie, Clunie Reid, Eli Cortiñas, Eric N. Mack, Friedrich Kunath, Georgina Starr, Haris Epaminonda, Jeremy Shaw, Josephine Meckseper, Kerry James Marshall, Marguerite Humeau, Mark Titchner, Math Bass, Metahaven, Mika Rottenberg, Nico Vascellari, Patrick H. Jones, Paul McCarthy, Paul P., Ron Nagle, Seb Patane, Sara Van Der Beek, Scott King, Tal R, Tauba Auerbach.

11,5 cm × 18 cm
264 pages
Softcover

Published May 2025

ISBN 97887-85336-02-6

The Inner Landscape explores the vivid and unruly world of Anders Brinch’s paintings. Moving through grotesque figures, surreal dreamscapes, and moments of absurdity and humor, the book focuses entirely on the works themselves—dense with narrative, texture, and emotional charge. Behind aliens, skeletons, and pool tables lies a deeper reflection on life and death. As Walter Benjamin once wrote: “The skull’s incomparable language: uniting utter lack of expression—the darkness of the eye sockets—with the wildest expression—the grinning rows of teeth.”

Brinch’s practice blends abstraction, figuration, expressionism, kitsch, and conceptual play into something unmistakably his own. His works are intensely personal, shifting between joy, irony, and anguish.

Anders Brinch (*1971) studied at the Royal Danish Academy of Fine Arts and has exhibited widely in Denmark and internationally. His work is part of several museum collections, including ARKEN, KUNSTEN, Skive Kunstmuseum, and Randers Kunstmuseum.

Lars Schwander (*1957) is a writer, photographer, and curator. He has previously published books on and with artists such as Manuel Alvarez Bravo, Yoko Ono, and Viggo Rivad, and has worked with institutions including Brandts, the Royal Library, the Photographic Center, and Louisiana Museum of Modern Art.

The publication was generously supported by New Carlsberg Foundation, Danish Arts Foundation and Billedhuggeren, professor Gottfred Eickhoff og hustrus, maleren Gerda Eickhoffs Fond.

18 cm × 23 cm
120 pages
Hardcover

Published April 2025

ISBN 97887-85336-01-9

Special Edition with signed print available here.

For the first time, Peter Funch’s iconic photographic series Babel Tales and 42nd and Vanderbilt are brought together in a single book. The publication features texts by Professor Mette Sandbye, architect Ane Cortzen, author and art historian William Pym, gallerist Jesper Elg, and the internationally renowned authors Douglas Coupland and Paul Auster.

Since the beginning of his career, Peter Funch has impressed audiences with his photographic series, which, rooted in street photography, capture incredible situations and seemingly random encounters between people in urban spaces. With a sharp eye for detail and the decisive moment, Funch creates photographs that appear as spontaneous snapshots but are, in fact, the result of years of meticulous observation and precision.

Babel Tales was initiated in 2006 and completed in 2024. The series consists of now-iconic photographs where time and space merge into extraordinary moments. The series 42nd and Vanderbilt, created between 2007 and 2016, presents daily observations of Manhattan’s morning rush hour. From the same street corner, Funch spent years documenting repeated actions and routines, forming a fascinating portrait of human behavior amidst the chaos of city life.

Together, the two series constitute a powerful visual exploration of the relationship between the individual and the collective. While Babel Tales portrays collective moments and layered narratives, 42nd and Vanderbilt focuses on individuals and their daily rituals. These series are particularly relevant today as they prompt reflections on the tension between the individual and the collective, between self and society, and on power dynamics and surveillance.

Funch’s striking images continue to convey themes of unity and connection, countering the divisive forces of our time. Simultaneously, they probe the ways in which we each feel increasingly watched by unfamiliar eyes. The role of the photographer is not neutral, and these works challenge us: What do Funch’s photographs reveal to us today that we were too distracted to notice before?

Bringing these two projects together in a single volume offers a unique opportunity to revisit and reinterpret them. The combination of the series opens up new readings that both reflect and challenge our understanding of the themes they explore, inviting reflection on the world we live in today.

The book also includes a chapter featuring archival and process material such as experiments, notes, drawings, and collages—all elements that have been directly worked on by Peter Funch. Together, these pieces form a visual and conceptual timeline documenting the creative process behind Babel Tales and 42nd and Vanderbilt.

This collection not only highlights the individual strengths of each series but also underscores their shared ability to delve into complex topics such as surveillance, power structures, and the individual’s role in public spaces. It offers a renewed perspective on everyday life and fosters meaningful conversations about the relationship between the personal and the collective.

First edition
30 cm × 23 cm
256 pages
Hardcover

Published February 2025

ISBN 978-87-85336-00-2

Empathy Industry LLC.

Back by popular demand. William Pym’s ‘That Way’, originally published in 2018.

This is the bootleg – with a new cover designed by Steve Powers.

‘That Way’ is a collection of 25 short and long texts written in William Pym’s 20s and 30s, a period during which he was an art world professional, in unrequited love with that art world. These texts include letters, press releases, interviews, newspaper copy, gossip columns, lectures, zine essays, catalogue texts, memoir entries and speculative poetry-philosophy. Some of these texts were never published or self-published in small numbers, and some were gigs for Artforum, Megawords, the Philadelphia Independent or the Village Voice. All were read by very few people. Their subjects include, among many others, Ari Marcopoulos, Gumby, Lindsay Lohan, French Montana, Ryan Trecartin and Lizzie Fitch, Cali Thornhill DeWitt, Paul Ryan, Belle & Sebastian, Ornette Coleman and Jack Smith. The texts are largely confessional, the voice almost religious in tone. Pym considers ‘That Way’ a work of critical theory for young people, and a patchwork memoir of a trying, unsavory period in the art world.

14 cm × 22 cm
188 pages
Soft cover, perfect bound with jacket.
Illustrated throughout

Published September 2021