From designer Ben Weaver:

Sugar Paper Theories explores the investigation of the supposed murder of two missing persons in Iceland in the 1970s and the conviction of 6 people based solely on their confessions. Jack Latham’s photographs are combined with material from the original police investigation files, a copy of the case files obtained by a conspiracy theorist and excerpts from a diary kept by one of the accused. This source material is reproduced using a variety of printing methods, paper types and sizes, and is sequenced to create a nightmarish, disorientating experience of the investigation. A written account of the case by Professor Gisli Gudjónsson CBE, a forensic psychologist whose expert testimony and theory of memory distrust syndrome are central to an ongoing inquiry, is integrated into the sequence.

The book uses the typeface Landnáma throughout.

Sugar Paper Theories was first published by Here Press in 2016. A second edition followed in 2019. Text by Gisli Gudjónsson with a foreword by Erla Bolladottir and photographs by Jack Latham. The book comes with a perfect bound card cover with cloth spine. It measures 31×23 cm and has 180 pages.

Tropographies 2015–2020 brings together a selection of manipulated photographs taken by Nicolas Delaroche at 41 exhibition venues in Switzerland and abroad. These images are paired with abstract forms derived from architectural sketches created by the artist in the same locations, as well as a series of evocative texts written by Gabrielle Boder.

The book invites readers to wander through the physical and virtual locations of the exhibitions. It blurs boundaries, transforming the subject matter of the photographs, the composition of spaces, and the origins of creative ideas. The result is a playful and thought-provoking interplay of visuals and words—a quirky dialogue between Delaroche’s imagery and Boder’s poetic reflections.

With its blend of photography, architecture, and literature, Tropographies 2015–2020 offers an unconventional exploration of artistic distortion, encouraging readers to reimagine how we perceive spaces and art.

The publication was designed by GUNMAD and published by Swiss publisher TSAR Books.

Riso print: Frau Steiner. Digital print: Graphius.

A portable camera obscura records the deep time of Scotland’s Rosneath Peninsula, home of the UK’s nuclear weapons program, in a handmade limited artist’s book.

Trinity by British artist Oliver Raymond Barker explores the complex histories embedded in the fabric of the land and engages with narratives around spirituality, protest and control. Early Christian pilgrims voyaged to remote corners of the British Isles such as Rosneath in search of sanctuary; they sought to use the elemental power of nature as a means of gaining spiritual enlightenment. Today, the peninsula is dominated by the presence of the military bases HMNB Faslane and RNAD Coulport. Existing alongside these sprawling sites are the small, temporary constructions of itinerant activists protesting against the nuclear presence – locations such as the Peace Wood bear traces of their occupation. Through an immersive process, made on the boundaries of the photographic medium, this work weaves together these disparate yet interconnected threads.

From Frame:

A pioneering survey of leading and emerging global artists, curators and art practitioners on the question: can art aid in conflict resolution and therefore reduce global tensions and human suffering?

Throughout the centuries, art has documented the atrocities of wars, participated in propaganda campaigns, and served as an advocate for peace and social justice around the world. The aim of this project is to explore how art can assist in creating dialogue and bridges across cultures and opposing groups. Over 100 leading and emerging architects, artists, curators, choreographers, composers, and directors of art institutions around the globe explore the potentially constructive role of the arts in conflict resolution. A summarizing chapter maps out the diverse positions and examines the variety of themes and approaches that were brought up.

For the book typography, Noa Schwartz paired Separat (in all caps; for cover, headings, and other display use) with both Landnáma (for text) and the revised Landnáma Nýja (for captions).

Texts by Noam Lemelshtrich Latar, Ornat Lev-er, and Jerry Wind. Published by Frame.

Klinker is the second studio album from Würzburg based Neo-Kraut duo ZEMENT. Five songs of “driven motorik Krautrock with poppy synths, shifting rhythmical patterns and New Wave guitars.” Music which works both in club and live concert contexts. Imagine lying on top of a lake and watching the sky.

From Daniel Gehret:

This isn’t a trip to the moon, this is just about floating around. As beautiful as listening to NEU! drunk!

The artwork of the concept album plays with the song titles, named after the steps in the production process of cement (German: Zement). It combines the clean but playful alternate numbers and bold letters of Surt with the fine and dreamy style of Or Types’ Landnama.
The special edition contains blue vinyl and a large photo poster.

Cover photo by Rebecca Schwarzmeier. Layout & art direction by Philipp Dittmar (Nanuk).

[More info on Discogs]