Produced on the occasion of the exhibition; Pati Hill: Photocopier, A Survey of Prints and Books (1974–83), 4 November, 2017–4 March, 2018.

This publication considers the first phase of the cross-disciplinary art of Pati Hill (1921-2014). Although her exploration of the copier, which she called “a found instrument—a saxophone without directions,” did not begin until the early 1970s, Hill is regarded as a pioneer due to her singular approach and commitment to the medium.

Employing the copier to record items as common as a gum wrapper or as unexpected as a dead swan, she also applied the process to transform appropriated photographs for her experiments with narrative. This catalogue features twelve different projects, including Hill’s attempt to photocopy the palace and grounds of Versailles.

Pamhplet produced on the occasion of Nairy Baghramian’s solo show Déformation Professionnelle, 26 November, 2016–19 February, 2017.

Déformation Professionnelle was a new production that built on 18 sets of works in the artist’s oeuvre from 1999 to 2016. Baghramian alludes to existing work and associated elements, from discarded ideas to working material. In this exhibition she was, in her own words, “surveying the survey”. By refusing to show what exists and nevertheless reconsider it in the ‘new’, the exhibition connected to fundamental questions about progress and economy and asks when something ceases to exist, and how something new comes into being.

“Best Books” is the subject of an annual workshop at Werkplaats Typografie, Arnhem. “Best Book, Don’t Care or, Poor Form from Fringe Areas” resulted from the 2013 workshop led by Sophie Nys in collaboration with the participants of Year 13 and Year 14. Designed by Roland Früh, Sophie Nys & Yin Yin Wong.

As Occasions was the first significant review of the work of then Rotterdam-based artist Wendelien van Oldenborgh.

Van Oldenborgh’s work focuses on the dynamics of cultural identity in society by communicating the interactions between individuals, often working against the historical grain and in (public) locations, using the cinematic lens to investigate these intricacies, allowing for an alternative public discourse to take place.

Widely recognised as a leading theorist and international practitioner of concrete poetry, Dom Sylvester Houédard (1924–1992) was a practicing Benedictine priest and noted theologian, also known by his initials ‘dsh’ or ‘the Dom.’ He wrote extensively on new approaches to art, spirituality and philosophy, and collaborated with artists such as Gustav Metzger, Yoko Ono and John Cage.

Produced on the occasion of the exhibition, Dom Sylvester Houédard at Lisson Gallery, New York (2 May–16 June, 2018).

Elena Narbutaitė enjoys the nature of discovery. By offering the unexpected, she hopes to create social situations in which the audience can collectively experience surprise or confusion. ‘Alex’ is a lamp, a light programme, and an exhibition by Narbutaitė that began during a 2016 New Year’s Eve party in her Vilnius apartment. After bringing in the new year, the lamp travelled to Kunstverein München, where it was installed above a window at the foyer entrance, pointed directly into the eyes of visitors. This book marks the year-long event using text excerpted from the film ‘Exotica’ by Atom Egoyan, as well as text interventions by Bernardo José de Souza and Chris Fitzpatrick.

Designed by Julie Peeters.