Produced on the occasion of the exhibition Atsuko Tanaka: 1960 点と線の渦巻き at The Contemporary Art Gallery, Seibu Department Store, Tokyo, 19 April–15 May, 1985.

Atsuko Tanaka was a Japanese avant-garde artist best known for her Neo-Dada Electric Dress (1956), a garment made from hundreds of lightbulbs painted in primary colors. This iconic work, which she wore to exhibitions, functions as a conflation of Japanese traditional clothing with modern urbanization, bringing an unexpected and challenging interpretation to both. “I wanted to shatter stable beauty with my work,” Tanaka once said. A member of the Gutai movement, much of her work used domestic objects like lightbulbs, textiles, doorknobs, and doorbells. With these objects, the artist was able to create work about the body without a body present. She maintained a broad practice that included performance “happenings,” sculpture, and installation, while her later work focusing on two-dimensional painting, with colorful organic abstract shapes connecting circles and lines.

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

1st edition of a facsimile reprint by Seth Sieglaub’s International General imprint, originally printed in Paris 1852-1854. A wide-ranging encyclopedic compilation containing thousands of detailled excerpts and scholarly references to the different types of luxury silk, gold and silver textiles and clothing used by the ruling classes during the middle ages. The descriptions are drawn from published and unpublished sources ranging from the sixth through the nineteenth century, and include excerpts from royal and church inventories, memoirs, literature and poetry, among other sources. Due to its scholarship & range of references it is still unsurpassed and remains an unrivalled source book for the study of the history of medieval fine textiles and clothing in Europe, the Islamic and Christian middle east, and especially, France.

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

Programme produced on the occasion of Playbill Act IV: Mieko Shiomi at Torpedo Theatre, Amsterdam March 9, 2023.

Mieko Shiomi is most-known for her substantial contribution to the Fluxus movement, where her investigations into the nature and limits of sound, music and auditory experience began as a student in Tokyo in the late 1950s, during which time she co-founded the seminal postwar Japanese experimental music collective Group Ongaku.

Central to Shiomi’s body of work is the creation of Fluxus editions—printed matter often taking the form of instruction cards and action invitations—and events, for which she gained most recognition in 1960s and 70s after relocating temporarily to New York in 1964 on the invitation of George Maciunas. During this time she began scoring ‘action poems,’ most notably Spatial Poem (1965), whereby she removed musical notation from the score entirely, instead favouring verbal instructions that were to be interpreted by the performer.

Designed by Maud Vervenne.

Edition produced on the occasion of Playbill Act IV: Mieko Shiomi at Torpedo Theatre, Amsterdam March 9, 2023.

Mieko Shiomi is most-known for her substantial contribution to the Fluxus movement, where her investigations into the nature and limits of sound, music and auditory experience began as a student in Tokyo in the late 1950s, during which time she co-founded the seminal postwar Japanese experimental music collective Group Ongaku.

Central to Shiomi’s body of work is the creation of Fluxus editions—printed matter often taking the form of instruction cards and action invitations—and events, for which she gained most recognition in 1960s and 70s after relocating temporarily to New York in 1964 on the invitation of George Maciunas. During this time she began scoring ‘action poems,’ most notably Spatial Poem (1965), whereby she removed musical notation from the score entirely, instead favouring verbal instructions that were to be interpreted by the performer.

Designed by Maud Vervenne.

“In SHIMMER, A MANUAL OF UNDOING we present a series of hand-developed black and white medium format photos of Shimmer’s exhibitions-in-progress. The photographs were taken during the unpacking, the unwrapping, the decision-making, depicting the often-invisible labor of the art worker. Since 2018 we have been undecided on how to make room for these images, which seem to not fit into conventional forms of contemporary art presentation and documentation. They arrive long after the moment of their generation, finally finding their home in this book’s unsettled and unbound pages. It is in the lag—the linger—that we define as our studio method.” Designed by Christophe Clarijs.

Produced on the occasion of the exhibition Anna Oppermann: Künstler sein at Kunsthalle Bielefeld, 23 March–28 July, 2019.

Anna Oppermann (1940–1993) is best known for her “ensembles”—expansive and complex assemblages of drawings, photographs, notes, and found objects that she developed, often over the course of years, in idiosyncratic creative processes. The fruits of an approach that was both intensely visual and tenaciously reflective, her ensembles are explicitly open works.