‘Fictitious entries’ are deliberately incorrect entries in reference works. Also known as Mountweazel, trap street, paper town, phantom settlement and nihilartikel. ‘Ghost words’ generally originate from a typographical or linguistic error. Once authoritatively published, a ghost word occasionally may be copied widely and enter legitimate usage.

Edited and designed by Carlo Canún. Series edited by Aubrie Savage. Printed on risograph at the Estonian Academy of Arts. Bound by Librix Print.

Produced on the occasion of the exhibition Chantal Akerman – Travelling held at BOZAR – Centre for Fine Arts, Brussels & Jeu de Paume-Jardin des Tuileries, Paris. The exhibition traced the atypical trajectory of Belgian filmmaker, writer, and artist Chantal Akerman. From the very beginning in Brussels to the Mexican desert, from her very first films to her last installations in 2015. This is the first major exhibition on the Brussels-based artist, featuring unique and never-before-seen images, production, and working documents from her archive. Follow all the stages of her career through the years and places Akerman has traversed and filmed. She went there to work with media as diverse as film, television, text, and installation.

With this publication, Joëlle Tuerlinckx guides us through the studio’s archives, and through the development of a thought process and culminates in the inventory of the M.M. collection (Musée de la Mémoire” or “Museum of Memory). Building on the great classic of the inventory catalogue and encompassing “all of J.T.’s work”, she presents “a museum in itself”.

While the book is originally connected to La Triangulaire de Cransac, a monumental work of art in the small town of Aveyron, it also puts into perspective the evolution of the museum in its relationship with the artist and the book. Joëlle Tuerlinckx reminds us that if the museum is compared to a book because of its internal organisation, then a book can be compared to a museum because of its systematics and its method of contemplating the object.

Bill is an annual magazine of photographic stories without any accompanying text to prioritise visual reading without distraction. Designed, edited, and produced by Julie Peeters and associate editor Elena Narbutaitė, it includes contributions by Ketuta Alexi-Meskhishvili, filmmaker Gillian Garcia, Swiss visual artist Beat Streuli, Takashi Homma, Adrianna Glaviano, French visual artist Mimosa Echard, British-Palestinian artist Rosalind Nashashibi, Martiniano shoes, and Amsterdam photography studio Blommers/Schumm.

Produced on the occasion of the exhibition The Stuff That Matters. Textiles collected by Seth Siegelaub for the Centre for Social Research on Old Textiles at Raven Row, London, 1 March–5 May, 2012. Which presented the first exhibition of the collection of historic textiles assembled by Seth Siegelaub over the past thirty years for the Center for Social Research on Old Textiles (CSROT). The exhibition featured over 200 items from the collection and included woven and printed textiles, embroideries and costume, ranging from fifth-century Coptic to Pre-Columbian Peruvian textiles, late medieval Asian and Islamic textiles, and Renaissance to eighteenth-century European silks and velvets.

Conceived by artist and filmmaker Margaret Salmon, this publication pairs an enquiry into women’s filmmaking practice with a comprehensive survey of experimental analogue technique across generations. Nine filmmakers—Peggy Ahwesh, Betzy Bromberg, Rose Lowder, Babette Mangolte, Rhea Storr, Deborah Stratman, Alia Syed, Malena Szlam and Salmon herself, speak about the ways they use and think about their cameras, sharing technical knowledge and reflections on camera work to reveal their creative philosophies and intentions. Included with the book is a separate manual: An Artists’ Guide to Analogue Cinematography. This learning pamphlet was written and photographed by Salmon, and includes step by step instructions to the loading and basic use of three cine cameras.