Artist zine reprinted in facsimile. Beverly Buchanan is best known for her later work, her sculptures of shacks, her architectural fragmentations. But she always kept a practice deeply producing various forms of printed matter. Personal notebooks, journals, scrapbooks, artist statements, clippings, photographic materials, illustrations, business cards and various zines, all were integral in her multi-layered oeuvre and are essential in understanding how she navigated between the various elements of impermanence, control, and the monumental. They also show how she used wit and fragility as a method or even a force of emotion.

Artist zine reprinted in facsimile. Beverly Buchanan is best known for her later work, her sculptures of shacks, her architectural fragmentations. But she always kept a practice deeply producing various forms of printed matter. Personal notebooks, journals, scrapbooks, artist statements, clippings, photographic materials, illustrations, business cards and various zines, all were integral in her multi-layered oeuvre and are essential in understanding how she navigated between the various elements of impermanence, control, and the monumental. They also show how she used wit and fragility as a method or even a force of emotion.

Artist zine reprinted in facsimile. Beverly Buchanan is best known for her later work, her sculptures of shacks, her architectural fragmentations. But she always kept a practice deeply producing various forms of printed matter. Personal notebooks, journals, scrapbooks, artist statements, clippings, photographic materials, illustrations, business cards and various zines, all were integral in her multi-layered oeuvre and are essential in understanding how she navigated between the various elements of impermanence, control, and the monumental. They also show how she used wit and fragility as a method or even a force of emotion.

Produced on the occasion of the exhibition Guy Mees at Micheline Szwajcer Gallery, Antwerp, 9 September–22 October, 2016.

Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterised by a formal rigour combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

Produced on the occasion of the exhibitions; Guy Mees at Galerie Micheline Szwajcer, Antwerp, 9 September–22 October, 2016 and Guy Mees Archives at Bureau Des Réalités, Brussels, 11 September–12 November, 2016.

Amongst other things, the publication presents a group of works dating from 1970 which had not been publicly exhibited since the year of their conception. Recent These sources highlight Mees’ specific, non-authoritarian intentions regarding notions of seriality and rationalism and industrial materials which were prevalent at that time. Indeed, Mees’ working method was modular in essence, allowing permanent structures to become precarious. Each piece could be moved around the room, indicating or revealing the exhibition space, while the “positive” representation of these same structures faced their “negative” counterparts (the metal bars were mirrored by their soft and fragile white felt protective covers). This gesture finds its origin in a series of very particular and sensual aluminium objects
named “Verloren Ruimte” (Lost Space), whose minimal, geometric shapes were occasionally lit by a neon and covered in a thin layer of lace. Dating from 1960, these pieces also foreshadow a system where inside and outside are combined.

Designed by Joris Kritis and Bureau Des Réalités, Brussels