Produced on the occasion of Willem Oorebeek’s exhibition Bigger, Higher, Leader!, at S.M.A.K., Ghent, 6 May–30 July, 2006.

Willem Oorebeek’s work presents a reflection on the status of the image and more especially on what technical reproduction does to an image or a message. Over the last few years he has been working on his BLACKOUT series, in which he prints on existing printed matter by hand, using black ink. The images he uses are of various origins, but he appropriates them and by making them illegible also pays tribute to them. In a certain sense, Oorebeek’s work is akin to certain aspects of Pop Art, though his is more radical. [publisher’s text]

Designed by Luc Derycke & Willem Oorebeek.

Rémy Zaugg said about a work of Cezanne: “The manufacture of the image is the work of the beholder.” William Oorebeek once quoted this in one of his books, and calls his artistic interventions often “picture editing”. This is more than clear in met zonder KOP. The multitude of images and snippets of detail, of shifts, the increase of the image resources and gaps that Oorebeek uses, forces the viewer to “build a picture”, in the way we are daily forced to reconstruct the flow of images into a sensible and meaningful whole. [publisher’s note]

This handmade artist book was produced on the occasion of Jason Dodge’s exhibition at Grazer Kunstevrein, Graz, 22 June–24 August, 2024. In an edition of 200.

Produced on the occasion of the exhibition Beth Laurin: Provisorium at Index – The Swedish Contemporary Art Foundation, Stockholm, in Fall 2017, this book provides an extensive overview of the work of Swedish artist Beth Laurin (born 1935 in Stockholm). Since the 1960s, the artist has developed an impressive body of work which includes sculpture and objects, performance, drawing, sound, text, photography and video, often incorporating found things, personal materials, texts and newspaper clippings that are used with a resonance of associations and potential meanings. Her work has developed in correspondence with political movements, such as early feminism, but with a highly idiosyncratic approach that looks extremely contemporary until today. [publisher’s note]

With texts by Beth Laurin, Leif Elggren, Jaleh Mansoor, Axel Wieder, and Josefine Wikström. Designed by HIT.

Filmmaker Chantal Akerman presents A Family in Brussels, a fictional stream-of-consciousness text encompassing multiple subjectivities and laced with autobiographical references.

This is the first English-language publication of the work, which Akerman wrote and first performed as a monologue in Paris and Brussels. The accompanying recording documents the theatrical reading that took place at the Dia Center for the Arts, New York, in October 2001. The listener can hear Akerman’s singular voice as she muses on familial relations, communication, closeness, and distance.

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

Produced on the occasion of documenta IX, Kassel, 13 June–20 September, 1992.

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