We started making machines together in 2010. These machines consisted of a sensor and device couplet, by which a sensor would trigger a device to perform a simple task. We experimented with sensor inputs like passing cars and tasks like heat guns blowing up trash bags, or later we would connect the machines to trains and have them push little cardboard cars back and forth. Still triggered by trains, the machines now move clock parts.

We disassemble mechanical clocks, take their parts and combine them with L-brackets, screws, washers, nuts, motors, felt, rubber bands, fishing line, and heat shrink tubing. The characteristics of the clock parts constrain and guide our activities. As we reinvent their function, the parts become less and less recognizable, their movements more and more estranged.

—Michèle Graf & Selina Grüter, 2023

Published to accompany the artist’s retrospective at the Kunstmuseum St. Gallen (September 2025–March 2026), this comprehensive monograph offers a detailed overview of the work of Dutch artist Jacqueline de Jong. Designed by Sabo Day and edited by Melanie Bühler, curator of the exhibition, this publication spans De Jong’s entire artistic journey of from her editorial activities and bold figurative paintings of the 1960s to her Billiards series in the 1970s, and her latest series of the 2020s that reflect the current state of the world.

Paul Outerbridge, Jr. emerged in the 1920s as a bold innovator, transforming ordinary objects, such as milk bottles, collars, eggs, into fractured Cubist constructions of light and form. His platinum and silver gelatin prints reduced subjects to intersecting planes and geometric rhythms, revealing a structural beauty aligned with the avant-garde movements of his time.

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

Produced on the occasion of Gianni Versace women’s collection Fall Winter 1993–94. Featuring the photography of Bruce Weber, Richard Avedon and Steven Meisel. Catalogue 25.

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

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.

Produced on the occasion of the exhibition Jack Smith at The Modern Institute, 14–20 Osborne Street, Glasgow, 24 January–24 March, 2015.

Jack Smith (1932–1989) is a central figure in the cultural history of downtown New York film, performance, and art. He began producing work in the late 1950s and became one of the most accomplished and influential artists working in the 1960s, 70s, and 80s. Inspired by 1960s subcultures of New York, underground film and experimental performance, Smith created a fantastical world fiction around his disgust with contemporary American consumer culture and a fascination with faux-Hollywood, as well as Orientalist exoticism. Through his own artistic and personal exploits, Smith developed a truly eccentric and captivating persona. Over the course of three decades, he transformed downtown New York into a theatrical environment for his ventures in film and photography.