Produced on the occasion of the awarding of the Manor Art Prize to Linda Semadeni and the subsequent exhibition at the Bündner Kunstmuseum, 18 February–3 July, 2023.

The book documents a comprehensive drawing series from the year 2023. Underlying these drawings is a performative investigation. In each line, in every mark are Linda Semadeni’s movements. On several hundred sheets she breaks up word combinations into their fragments by contortion and repetition such as “I’m not a nice girl” or “I’m a hot nice girl”. Plastic, spray cans, fire, photo paper, hair, felt pens and bubble wrap are used. Unpredictability is the creative principle.

With texts Alan Longino and Damian Jurt.

Produced on the occasion of Jean-Marc Bustamante’s exhibition at the Villa Arson, Nice, 29 March–25 May,1997.

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

Produced on the occasion of Giovanni Anselmo’s exhibition Nieuw Werk at Galerie Helen Van Der Meij, Amsterdam, 19 November–16 December,1982.

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

Werkplaats Typografie presents a catalog of Works from the Collection of Holly van Houten. Spanning multiple decades and personally selected from around the world, the collection includes over a thousand items that memorialize the life of this candidly private, bohemian connoisseur. Carefully examined by our specialists, a curated selection of rarities, antiquities, oddities, and works of art is available in this catalog, which accompanied an exclusive auction held during Printed Matter’s LA Art Book Fair in May 2025 in Los Angeles, Van Houten’s beloved city.

Project led by Hannes Drißner, Lisa Lagova, Nuno Beijinho. Designed by Hannes Drißner, Lisa Lagova, Nuno Beijinho. Objects photographed by Augustinas Milkus and Jordi de Vetten.

Moer, an artists’ book by Ana Jotta and Ricardo Valentim, was published in 2018 by the Calouste Gulbenkian Foundation as part of its renowned educational editions series. Initially conceived as a working dossier for an exhibition at the Gulbenkian Museum, this collection included materials, references, and proposals for a joint exhibition.

The title originates from one of the works in the book: Ana Jotta’s personal business card, which features the French word “Moi.” In Portuguese, the near-homonym moer (“to grind”) creates a layered pun that resonates throughout the project, representing the negotiations, pressures, and subtle abrasions that shaped the book’s development and the artists’ interaction with the museum.

Jokes is a crash course in psychic disintegration for the genocide generation. Ever wondered what a spoonbill thinks of peremptory norms? Or what a hippo can do with an egg-slice? What’s the secret of the success of men like David Papazian and Johnnie Moore, who get to run the Gaza Humanitarian Foundation, while poetry-reading demographics, from the higher and intermediate managerial and professional occupations down to the footwells of unskilled manual self-erasure, lie around standing up for themselves and fornicating with the void? An Author’s a Joke, to all manner of Folk, wherever he pops up his Head, his Head, wherever he pops up his Head, according to Fielding. But why? The 27 jokes of Jokes unfold over the course of a duration-block, in an exclusive interior, under new management, in the capable trotters, paws, hooves, claws, tentacles, jaws, beaks, and blowholes of a fabulous parliament of beasts, some drunk, some dead, some leery, some high, some tender, in the tradition of Boccaccio or Isaiah. They are all funny.