A special archival issue, featuring unpublished Martin Margiela lookbook photographs, a horse, street style from the 90’s, vases of Japan, a silver story, a flash forward and back, tennis, an icecube tray, more Margiela, Hysteric Glamour and a bunch of frivolous images. The stories are sourced from the book collections of RareBooksParis and Julie Peeters. Edited and designed by Julie Peeters.

Quilt #01–#30 presents a series of quilts–silkscreen printed fabrics (2013–ongoing) by Philipp Gufler. By combining text and image, Philipp Gufler’s series of works refers to artists, writers, LGBTIQ+magazines and lost queer spaces, which are often omitted from the usual history books. The subjects that are central to Gufler’s quilts are closely related to his own artistic practice and interests, but also his personal life. The publication features an essay by Laurie Cluitmans, curator of contemporary art at the Centraal Museum. Designed by Stefanie Hammann.

Mondo Cane presents itself as a local folkloric museum that displays the human figure. Silent, pale and frightened, the pavilion’s inhabitants appear as aestheticized shells, stuck in a loop of formal activity that the visitor perceives as odd and out of touch with contemporary reality.

Jos de Gruyter and Harald Thys have the habit of distilling fictions out of a reality that is, sometimes, ‘too real.’ Both willingly concede that they feel attracted to the psychotic state of contemporary societies, a state that they simultaneously dread and disseminate in their work.

Designed by Boy Vereecken and Antoine Begon.

Produced on the occasion of the exhibition The Music of Color, Sam Gilliam, 1967–1973, 9 June–30 September, 2018, Kunstmuseum Basel, Basel. Texts by Sam Gilliam, Jonathan P. Binstock, Lynette Yiadiom Boakye, Larne Abse Gogarty, Josef Helfenstein, Rashid Johnson and Rafael Squirru.

Sam Gilliam emerged from the Washington, D.C. scene in the mid 1960s with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways by suspending stretcherless lengths of painted canvas from the walls or ceilings of exhibition spaces. For an African-American artist in the nation’s capital at the height of the Civil Rights Movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change.

Produced on the occasion of the exhibition Isa Genzken: Caroline Van Damme at the Museum Dhondt-Dhaenens in Deurle, 17 May–5 July, 1998. Curated by Luk Lambrecht. Designed by Studio Luc Derycke.

Produced on the occasion of the survey exhibition, Charlotte Posenenske: Work in Progress at the Kunstsammlung Nordrhein-Westfalen, 30 May–2 August, 2020.

In the 1960s, parallel with American Minimalism and the emerging Conceptual Art, Charlotte Posenenske (1930–1985) developed an impressive body of minimalist works within just twelve years, thus demonstrating her innovative understanding of art. Although the artist, who worked in Frankfurt am Main, exhibited during her lifetime together with artists such as Carl Andre, Donald Judd, and Sol LeWitt, and, in 1967, had an exhibition in the gallery of Konrad Fischer in Düsseldorf, which had opened only shortly before, her contribution to the discourse of Minimalism and Conceptual Art remained largely ignored for a long time.