“The actual distribution of the centers of wheat and rice production in the world can be seen to coincide fairly accurately with the areas of adequate rainfall. A temperate climate and rainfall adequate to the production of either wheat or rice provide the agricultural basis for the power of any state. A region which lacks these elements in any appreciable degree finds itself doomed to play a secondary role in the power relations of the world.”

— Spykman, Nicholas John. The Geography of the Peace. New York: Harcourt, Brace and Company, 1944.

Produced on the occasion of the exhibition Leonora Carrington at Tokyo Station Gallery, 14 October – 12 November, 1997; Daimaru Museum, Ureda-Osaka, 11 February – 23 February, 1998; Hida Takayama Museum of Art, 28 February – 29 March, 1998 and the Mie Prefectural Art Museum, 4 April – 5 May, 1998.

Leonora Carrington was a British-born surrealist painter and novelist. She lived most of her adult life in Mexico City and was one of the last surviving participants in the surrealist movement of the 1930s. Carrington was also a founding member of the women’s liberation movement in Mexico during the 1970s.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition Yayoi Kusama at Nagano Prefectural Shinano Art Museum, Nagano, 22 April – 22 May, 1994. Yayoi Kusama’s work has transcended two of the most important art movements of the second half of the twentieth century: Pop art and Minimalism. Her highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures, which allude at once to microscopic and macroscopic universes.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of the exhibition The Weight of the Concrete by Ezio Gribaudo with a scenography by Davide Stucchi. It contains photographic excerpts from Ezio Gribaudo’s series of achromatic embossed “Logogriff” limited edition books, created between 1965 and 1972. These works challenge the conventional relationship between ink and material in print, using embossing to highlight the tangible process of creating printed matter. One of the key elements of Gribaudo’s work is the “logogrifo” (logogriph), a word puzzle derived from the Greek “logos” (word) and “griphos” (riddle). Typically, the logogriph, or a riddle in verse, involves altering words by adding, removing, or changing one letter at a time to form other words. In Gribaudo’s interpretation, a logogrifo oscillates between legibility and abstraction, serving both as readable forms and as a gateway to an enigmatic world where the image and language, disconnected from their origins, coalesce.

Edited by Tom Engels and Lilou Vidal. Designed by Julie Peeters.

For thirty years, Heinz Peter Knes has developed a large body of work, focusing on photographic-documentary practice that seeks to engage image with society. Reflecting on the multiple “correspondences”, influences and interactions at the heart of his artistic work, we travel with him through the five chapters of this book, crossing paths with Josef Winkler, Hervé Guibert, Pasolini, Moyra Davey, Julie Ault, Jean-Luc Moulène, Danh Vo, Artaud and many others. Creating a new language, a sort of echo, as sensitive experience, which in a way dematerialize our perceptions, but enable “to gather” them.

Rachel Valinsky invites seven artists from both sides of the Atlantic to share their views of Guy de Cointet, with contributions by Davide Balula, Eva Barto, Julie Béna, Jesse Chun, Jean-Pascal Flavien, Gordon Hall, Alan Reid.

Guy de Cointet was fascinated with language, which he explored primarily through performance and drawing. His practice involved collecting random phrases, words, and even single letters from popular culture and literary sources—he often cited Raymond Roussel’s novel Impressions of Africa as influential—and working these elements into non-linear narratives, which were presented as plays to his audience.