Produced on the occasion of the exhibitions; Etel Adnan at Städtische Galerie im Lenbachhaus München and Etel Adnan: Poetry of Colors at Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

It gathers artworks from all periods of the internationally renowned artist’s oeuvre and in a wide range of media. Side by side with her small-format abstract paintings, whose intensity of colour lends them an almost mystical quality, her monumental tapestries, delicate works on paper, leporellos, and experiments on film shed light on her specific engagement with questions of colour and form and with the cosmic dimension of time, space, and the spiritual.

Second catalogue published by Seth Siegelaub’s International General book publishing and distribution project. In 1970, Siegelaub founded the company in an effort to streamline the dissemination of his self published exhibition catalogues as well as celebrated books & catalogues by Lippard, Ruscha, Weiner, Barry, Kosuth, and Dibbets.

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

In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy. Archief 6 and 7 (2022) are the final two volumes in the series. Edited by Sofie Dederen.

In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy. Archief 6 and 7 (2022) are the final two volumes in the series. Edited by Sofie Dederen.

Józef Robakowski, a key figure of the 1960s and 1970s neo-avant-garde rebellion, is a master of structural cinema and a pioneer of Polish video art. In his practice he has tested viewers’ perceptual habits, developed ideas about mechanical recordings beyond any aesthetic convention, and criticized methods of visual persuasion in films, highlighting in particular the pompousness of political spectacles. A radical experimentalist and media analyst, Robakowski is known for his unique approach, “his own cinema,” in which autobiography replaces dubious history, and in which the artist proposes his own scenario for perceiving the reality of life under communism.

Produced on the occasion of the exhibition Julie Ault, Martin Beck: Installation at Secession, Vienna, 22 September–12 November, 2006.

The exhibition consisted of an arrangement of individually and collaboratively authored installation fixtures, arenas, and works that functioned as the display architecture produced specifically for the Secession’s space.

The vocabulary inscribed by Félix González-Torres’ series of photographs Untitled (Natural History)—Patriot, Historian, Ranchman, Scientist, Soldier, Humanitarian, Author, Conservationist, Naturalist, Scholar, Explorer, and Statesman parenthesized the exhibition. The photographs were hung on the gallery’s permanent walls.