This catalogue is published on the occasion of Isa Genzken’s exhibition Early Works that took place at Galerie Buchholz Berlin gallery in 2013. The book contains a new essay by Benjamin H.D. Buchloh, both in English and in German as well as an extensive documentation on the artist’s early work starting in the late 1960s.

Published on the occasion of the exhibition  Alina Szapocznikow 1926–1973, Galeria Sztuki Współczesnej Zachęta, Warsaw, 1998. Curated by Anda Rottenberg.

Produced on the occasion of Perspectief in textiel at the Stedelijk Museum, Amsterdam, 1969. Includes the work of Magdalena Abakanowicz, Jagoda Buic, Marguerite Carau, Marie-Thérèse Codina, Elsi Giauque, Sheila Hicks, Bohdan Mrázek, Ryszard Wojciech Sadley, Jindrich Vohánka, Claire Zeisler. Designed by Wim Crouwel and Jolijn van de Wouw.

Produced on the occasion of Manfred Pernice’s solo exhibition at Lulu, Mexico City, this monographic catalogue focuses on the artist’s ongoing Kassetten (cassettes) series, initially begun in 2012. Spanning back to 1996, the book features abundant documentation of the various manifestations of the works, visual references, and other recent sculptures as well as texts by Lulu co-founder Chris Sharp.

Produced on the occasion of the exhibition Jef Geys: KOME, Koninklijke Musea voor Schone Kunsten van België and Musées royaux des Beaux-Arts de Belgique in 2012. Design by Luc Derycke.

Iwata Nakayama (1895–1949) is regarded as a one of the most important contributors to the Shinko Shashin movement. After graduating from the Tokyo School of Fine Arts in 1918, he received a scholarship from the Japanese government and went to California before settling in New York. At the same time Nakayama was attracted to avant-garde movements and moved in bohemian circles where he met Shimizu Toshi. Shimizu encouraged him to move to Paris in 1926 where he met Man Ray, Fujita Tsuguji, and Enrico Prompolini. These encounters left a deep impression on him and when he returned to Japan in 1927 he energetically set about forming his own vision of ‘pure art photography’. In 1929 he settled in Ashiya (nr. Kobe) and in the following year founded the Ashiya Camera Club with Hanaya Kambei, Korai Seiji, and others. This club became the main driving force of New Photography in Japan. Together with Kimura and Nojima he founded Koga magazine in 1932 that was the most important forum for artistic photography at the time.