Confidences/Baseline plays with the vampire novel like a dollhouse. Charac­ters who variously believe in the power of theatre and performance become entangled with grief, desire, and the un­known. What does a rehearsal come to mean when a vampire lives forever?

The performances of Ivan Cheng are incomplete, failing, desperate, and riddled with absence. They use his variously trained performing body, incanting texts that foreground subjectivity in monologues and dialogues. Identities of other interlocutors become embedded through rehearsal, dialogue, and entrustment. Without deluded presupposition of being for everyone, Cheng’s practice is invested in questions around publics and accessibility.

Designed by Sabo Day.

Yuji Agematsu, Four Seasons is a unique artist book presenting the artist’s renowned zips, miniature sculptures comprised of reanimated urban detritus collected by Agematsu on daily walks in New York City and encased within the cellophane wrappers of cigarette packs.

The publication accompanies an exhibition at the Secession, Vienna of 366—one per day—of these arrangements from 2020, that infamous calendar year. The book features images of a selected month from each of the four seasons.

Designed by Studio Claus Due, Copenhagen.

Produced on the occasion of René Daniëls’ 1978 exhibition at the Van Abbemuseum, Eindhoven.
With a text by Jaap Bremer. Designed by Walter Nikkels.

Produced on the occasion of the exhibition Until it Fitted! at Établissement d’en face, Brussels, 24 March–28 April, 2007.

Jacqueline Mesmaeker (born 1929 in Brussels) started her career as a fashion designer from 1962 till 1972, before she turned to visual and artistic issues. Drawing, an art form she taught in several art schools (ERG, La Cambre…), runs throughout her rich work that includes installation, video, photography, writing and design. She won the Norwich East Award, in 1996.

Produced on the occasion of group exhibition Atelier 8 at the Stedelijk Museum, Amsterdam, 15 January–14 February, 1971.

SM Cat. No 494.

Designed by Wim Crouwel.

Raoul Hausmann’s photographic work has long been underrated. This key artist of the twentieth century is remembered primarily for the central role he played in Berlin Dada with his assemblages, photomontages, and optophonetic poems, yet the vicissitudes of history caused his photography, an essential facet of his oeuvre, to be cast almost entirely into the shade. From 1927 on, Hausmann became an avid and restless photographer in Germany, in particular during his stays at the North Sea and Baltic coasts. While in exile in Ibiza after the Nazis came to power, he took an interest in the local populace and vernacular architecture, before emigrating again in 1936. During this intense decade, he reflected extensively on photography, developing a highly individual practice in the medium, simultaneously documentary and lyrical, inextricably linked to his way of thinking and living.