Produced on the occasion of documenta X, 21 June – 28 September, 1997, Kassel, Germany.

Lygia Clark, was a Brazilian artist best known for her painting and installation work. She was often associated with the Brazilian Constructivist movements of the mid-20th century and the Tropicalia movement. Along with Brazilian artists Amilcar de Castro, Franz Weissmann, Lygia Pape and poet Ferreira Gullar, Clark co-founded the Neo-Concrete movement. From 1960 on, Clark discovered ways for viewers (who would later be referred to as “participants”) to interact with her art works. Clark’s work dealt with the relationship between inside and outside, and, ultimately, between self and world.

Dreaming Alcestis is an artist’s book by artist and filmmaker Beatrice Gibson, conceived as an accompaniment to her holographic film installation of the same name. Dreaming Alcestis was co-directed and co-scripted by Gibson, her partner Nicholas Gordon and critic Maria Nadotti. The publication features a specially commissioned essay by poet and translator Allison Grimaldi Donahue, as well as a reprint of the American poet Alice Notley’s 1991 essay What Can Be Learned From Dreams? Designed by HIT.

Produced on the occasion of the Dutch Pavilion at the 47th Venice Biennale.

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

Produced on the occasion of Oorebeek’s major survey exhibition at WIELS in Brussels, this richly illustrated book presents re-readings of fifty years’ work and the materiality of production. These are numbered according to recollection, organised under headings, and translated from Dutch to English. The translations are coloured by two years of conversation with editor/designer Will Holder—accounting for ambiguity, rabbit-holes, and an [un]conscious preference for “quasi-” “ofschoon…” “enzovoort.” Repetition, alliteration, and other material, musical and metric devices are placed on the page, quite intentionally, designed “an sich” to facilitate memory and recall; complementing the book’s many scale details of work itself.

Daniel Buren writes on his friend Robert Ryman to highlight some questions raised by his oeuvre and by his own work.

Co-founder of the BMTP group, Daniel Buren (born 1939 in Boulogne-Billancourt, France) is a major figure on the international art scene. He made a name for himself on the art scene in the 1960s. In 1965, Daniel Buren settled into an approach based on a striped canvas with alternating white and coloured, 8,7 cm‑wide stripes. The introduction in late 1967 of what he called a “visual tool” laid the foundations for a practice that broke with tradition and opened up a multifaceted body of work in which freedom was born, as the artist likes to point out, out of both internal and external constraints. Daniel Buren explored this “visual tool” by developing it on a flat surface and, from the end of the 1960s, in three dimensions.

Peter Hujar (born 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. (The Peter Hujar Archive)

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