Produced in conjunction with the Bethlehem leg of On Kawara’s traveling exhibition Pure Consciousness which began in Sydney in 1998. For the exhibition, seven “Date Paintings” from the Today series (1966–2013) are displayed in a kindergarten classroom. The exhibition has traveled around the world to Sydney, Tongyeong, Reykjavik, Istanbul, Goa, Inari, Thimphu, Abidjan, Ulaanbaatar, Toliara and other locations.

Announcement card produced on the occasion of an exhibition recent werk held at Seriaal bv, Amsterdam, 26 March– 27 April, 1977.

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

Produced on the occasion of the exhibition A.R. Penck / Y.: schilderijen, gouaches, 25 November–23 December, 1978

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

Produced on the occasion of the exhibition Jef Geys: Painting Clouds at Micheline Szwajcer, Brussels, 11 December, 2015–23 January, 2016

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Jef Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

Card produced by Musée D’art Moderne et Contemporain, Geneva documenting Elaine Sturtevant’s work from the collection. Beuys La Rivoluzione siamo noi, 1988–1992, Tirage offset couleur, 97.8 × 53.5 cm, éd. 20/21.

The American artist Sturtevant is best known for her repetitions of the works of other artists, which she recreated manually from memory after having seen a piece that intrigued her. These can immediately be identified with the original, but they are not copies. The artists with whose work she engaged include her contemporaries in American Pop—Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, Andy Warhol and Tom Wesselmann – as well as Marcel Duchamp, Joseph Beuys, Frank Stella, Félix González-Torres, Keith Haring and Anselm Kiefer, among others. Her aim was not to achieve an exact replica, but rather to address notions of authorship, authenticity and originality that would later come to the fore in our own digital age, characterised by the endless circulation and recombination of images.