This internationally-oriented journal is organised into sections based on the date and the city from which the contributor submits his or her thoughts, observations, photographs, and/or stories. The result is a collection of news and insights from around the world during a particular period, in this case, January 6 through May 2, 2007.

Contributors include Laetitia Benat, Mark Borthwick, Christophe Brunnquell, Anders Edström, Elein Fleiss, Dominique Gonzalez-Foerster, Nakako Hayashi, Gary Indiana, Jeff Rian, Chikashi Suzuki, Antek Walczak, Cosmic Wonder Light Source, Henry Roy, Tomoo Gokita amongst others.

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

Theatre on the streets, public behaviour, being on display, working in the public, pretending, putting on an act, deception, public performing, street acts, standing out, seeking attention, entertainment, dress-up, appearance, disappearance, taking matters into one’s own hands. Observed, imagined and designed by LP.

Series edited by Aubrie Savage. Printed on a risograph at the Estonian Academy of Arts. Bound by Librix Print.

‘Fictitious entries’ are deliberately incorrect entries in reference works. Also known as Mountweazel, trap street, paper town, phantom settlement and nihilartikel. ‘Ghost words’ generally originate from a typographical or linguistic error. Once authoritatively published, a ghost word occasionally may be copied widely and enter legitimate usage.

Edited and designed by Carlo Canún. Series edited by Aubrie Savage. Printed on risograph at the Estonian Academy of Arts. Bound by Librix Print.

Produced on the occasion of the exhibition Chantal Akerman – Travelling held at BOZAR – Centre for Fine Arts, Brussels & Jeu de Paume-Jardin des Tuileries, Paris. The exhibition traced the atypical trajectory of Belgian filmmaker, writer, and artist Chantal Akerman. From the very beginning in Brussels to the Mexican desert, from her very first films to her last installations in 2015. This is the first major exhibition on the Brussels-based artist, featuring unique and never-before-seen images, production, and working documents from her archive. Follow all the stages of her career through the years and places Akerman has traversed and filmed. She went there to work with media as diverse as film, television, text, and installation.

With this publication, Joëlle Tuerlinckx guides us through the studio’s archives, and through the development of a thought process and culminates in the inventory of the M.M. collection (Musée de la Mémoire” or “Museum of Memory). Building on the great classic of the inventory catalogue and encompassing “all of J.T.’s work”, she presents “a museum in itself”.

While the book is originally connected to La Triangulaire de Cransac, a monumental work of art in the small town of Aveyron, it also puts into perspective the evolution of the museum in its relationship with the artist and the book. Joëlle Tuerlinckx reminds us that if the museum is compared to a book because of its internal organisation, then a book can be compared to a museum because of its systematics and its method of contemplating the object.

Bill is an annual magazine of photographic stories without any accompanying text to prioritise visual reading without distraction. Designed, edited, and produced by Julie Peeters and associate editor Elena Narbutaitė, it includes contributions by Ketuta Alexi-Meskhishvili, filmmaker Gillian Garcia, Swiss visual artist Beat Streuli, Takashi Homma, Adrianna Glaviano, French visual artist Mimosa Echard, British-Palestinian artist Rosalind Nashashibi, Martiniano shoes, and Amsterdam photography studio Blommers/Schumm.