Produced on the occasion of Mode and Mode issue 8 Rogue which is assembled around the modernist satirical magazine Rogue (1915–1916) with newly commissioned texts by Astrid Lorange, Femke de Vries, Matthew Linde, Ulrich Lehmann, Isabelle Sully, Yair Oelbaum, Katherine Bernard and Rowan McNaught.

The issue produces a conceptual mirror in the form of a split screen: on the left, a facsimile of the first issue of Rogue, published in March 1915, and on the right, Mode and Mode. This collective enquiry into Rogue not only recirculates and reconsiders this distinctive project in the context a radically different scene of art, fashion and poetry of the present day.

You can read the issue online here.

Produced on the occasion of Mode and Mode issue 8 Rogue which is assembled around the modernist satirical magazine Rogue (1915–1916) with newly commissioned texts by Astrid Lorange, Femke de Vries, Matthew Linde, Ulrich Lehmann, Isabelle Sully, Yair Oelbaum, Katherine Bernard and Rowan McNaught.

The issue produces a conceptual mirror in the form of a split screen: on the left, a facsimile of the first issue of Rogue, published in March 1915, and on the right, Mode and Mode. This collective enquiry into Rogue not only recirculates and reconsiders this distinctive project in the context a radically different scene of art, fashion and poetry of the present day.

You can read the issue online here.

This book aims to illustrate a little-known aspect of ’60s, ’70s, and ’80s art, the “artist’s invitation,” namely the material (be it a card or piece of paper) printed for the specific purpose of documenting an exhibition. The criterion employed to choose the material was that of privileging the participation of the artist him- or herself in the creative process that led to the object’s production. The artistic context on which this book focuses is that of Minimalism, Conceptual Art, Land Art, Pop Art, Fluxus, and Actionism, including Spanish and South American art, the importance of which warrants a new critical attention for the historical and political significance these movements had in their respective sites. The materials considered here come almost entirely from the collections of Bruno and Alessandra Tonini, Christoph Schifferli, Giorgio Colombo (Milan), and the Lafuente Archive (Santander).

Mathias Poledna’s artistic practice is informed by historical research, archives and collections. His film Western Recording shows a recording session in the legendary Studio 3 at United Western Recorders, a studio that has remained largely unchanged since the early 1960s because of its special sound. From the multiple referential fields alluded to by this setting, as well as the inherent tension between its current function and historical significance, Poledna creates a hybrid historical constellation that combines a reinterpretation of the 1969 song “City Life” along with the appearance, the habitus, and the performance of the musicians.

Designed by Mathias Poledna.

Produced on the occasion of the exhibition Mirtha Dermisache LIBROS: Dispositif éditorial Florent Fajole, Centre des livres d’artistes, 4 October–20 December, 2008.

Argentinian artist Mirtha Dermisache wrote dozens of books, hundreds of letters and postcards, and countless texts. Not a single one was legible, yet, in their proximity to language, they all resonate with a mysterious potential for meaning. Using ink on paper, Dermisache invented an array of graphic languages, each with its own unique lexical and syntactic structure, laden with poetic and sometimes visceral suggestion.

‘Tokyo Papers’ comprises a collection of 41 monoprints created by Dutch graphic designer and typographer Karel Martens between 2019 and 2020. In 2018, Martens received a package from artist-curator Pierre Leguillon that contained filled-in Japanese forms which he had found at a street market in Tokyo. Martens was intrigued by the collection of thin paper with a rectangular black-blue layer of carbon on the back. In 2019 he started to print on these back sides, but because the overprinting on the carbon layer caused unwanted damage, he switched to printing them on the front sides as well. “The closing image is related to Tokyo in a different way,” he explains.