Real-Time Realist is a serial publication of J-LTF PRESS. This issue of Real-Time Realist explores Ecstasy, Joy, Serenity, and Love, The Yellow Wheel, with contributions from invited artists distilling the aforementioned emotions.

Contributors: Kasia Fudakowski, Paul Haworth, Carla & Karlis, Arvo Leo, Angharad Williams, Jaakko Pallasvuo, Lieven Lahaye, Nolwenn Salaün, Mikko Varakas, David Bennewith, Anders Frederik Steen and Jean-Marc Brignot, Josse Pyl, and Jungmyung Lee

Edited by Jungmyung Lee, Lieven Lahaye. Designed by Jungmyung Lee.

Exhibition pamphlet produced on the occasion of Fiona Abicare’s exhibition Rose Moon at West Space, Melbourne, 2019.

Abicare works across sculpture and site to explore diverse material histories. Influenced broadly by modernism and its interaction with art, design, architecture, film and fashion, her work absorbs and reflects cultural histories, personal memories and other embedded associations. Rose Moon explores the origins of the interior design style Shabby Chic in relation to art history and feminine aesthetics. Taking shape as a series of site-specific sculptures, Rose Moon considers the practice of the female home decorator as sculptor, painter and craft practitioner.

Acknowledged today as one of the most influential figures of post-war Yugoslavian art, mangelos is the pseudonym that the Yugoslavian art critic and historian Dimitrije Bašičević (1921–1987) used for his artistic activity, a parallel career he would only make public in the 1970s. Although he never considered himself an artist, he never stopped producing paintings, blackboards on which he inscribed poems, stories, quotations and philosophical manifestos, all inspired by his historical pessimism and the idea that language is infected by ideologies.

Edited by François Piron. Designed by Laure Giletti.

The Joke Book is the first printed edition of the complete jokes & messages file that was found on Seth Siegelaub’s computer by his partner Marja Bloem. It contains jokes, quotes, and pieces of advice, that he collected since 1999 and regularly redistributed via email amongst his friends. With contributions by Alex Alberto, John Baldessari, Marja Bloem, Myrna Bloom, Martin Browne, Alan Kennedy, David Kunzle, Joel Miller, Loren Miller, Kay Robertson, Laurent Sauerwein, Seth Siegelaub, Joan Simon, Kira Simon-Kennedy, Peter Sinclair, Steven Wright, and an introduction by Huan Hsu (written after a long conversation with Marja Bloem). Designed by Marc Hollenstein.

In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy.

Archief 5 appeared on the occasion of Geys’ archive installation about the role of the media in the Gulf War in the M HKA, and was preceded by a brief pre-publication of documents relating to the execution process of the installation and an introduction by Bart De Baere.

An animation of the contents of the book courtesy of the Frans Masereel Centre can be seen here.

In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy.

Archief 4 (2017) begins with a detailed index of Geys’ archive, a complete station novel with annotations by Geys, and continues with documents relating to cultural subsidies and correspondence concerning the foundation of an association for visual artists who fought in the early seventies for a social status for visual artists.

An animation of the contents of the book courtesy of the Frans Masereel Centre can be seen here.