Produced on the occasion of the exhibition Guy Mees at Micheline Szwajcer Gallery, Antwerp, 9 September–22 October, 2016.

Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterised by a formal rigour combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

Produced on the occasion of the exhibitions; Guy Mees at Galerie Micheline Szwajcer, Antwerp, 9 September–22 October, 2016 and Guy Mees Archives at Bureau Des Réalités, Brussels, 11 September–12 November, 2016.

Amongst other things, the publication presents a group of works dating from 1970 which had not been publicly exhibited since the year of their conception. Recent These sources highlight Mees’ specific, non-authoritarian intentions regarding notions of seriality and rationalism and industrial materials which were prevalent at that time. Indeed, Mees’ working method was modular in essence, allowing permanent structures to become precarious. Each piece could be moved around the room, indicating or revealing the exhibition space, while the “positive” representation of these same structures faced their “negative” counterparts (the metal bars were mirrored by their soft and fragile white felt protective covers). This gesture finds its origin in a series of very particular and sensual aluminium objects
named “Verloren Ruimte” (Lost Space), whose minimal, geometric shapes were occasionally lit by a neon and covered in a thin layer of lace. Dating from 1960, these pieces also foreshadow a system where inside and outside are combined.

Designed by Joris Kritis and Bureau Des Réalités, Brussels

Treatise of a Coat gathers for the first time works on paper by Helen Marten. Featuring coloured pencil, watercolour, ink, airbrush, acrylic and graphite, alongside other more unusual media like sand, silicone or olive oil, this book is a sumptuous, visual document of Marten’s drawing and painting practice on paper. Designed as an unruly “artist’s book”, Treatise of a Coat has multiple physical and linguistic folds. The title is a forcing of the homonymic similarities of coat: the literal jacket that is unfurled to expose the naked and unruly shame of human forms; the fur or hair of an animal; the verb-function of to coat, with its intentional building up of visual desire – the acts of lacquering, spreading, enclosing, flooding, directing, or husking that line and colour expedite when creating an image. The constituent materiality of this book is designed with the physicality of making a work on paper in mind.

Edited by Taylor Walsh, Sam Agnew, Helen Marten, Matthew Stuart & Jeffrey Rowledge. Designed by Matthew Stuart.

Produced on the occasion of Luciano Fabro’s exhibition at Micheline Szwajcer Gallery, Antwerp, that opened on 20 May, 1985.

Produced on the occasion of Luciano Fabro’s exhibition at Micheline Szwajcer Gallery, Antwerp, 20 April–4 June, 2016.

Produced on the occasion of the exhibitions at Palacio de Velázquez, Museo Nacional Centro de Arte Reina Sofía, Madrid, 8 November, 2012–15 April, 2013 and Kunsthaus Graz, Universalmuseum Joanneum, Graz, 7 June–1 September, 2013. With texts by Eva Badura-Triska, Archiv HZ, Jürgen Bock, Achim Hochdörfer, Andrew Renton and Gertrud Sandqvist.