Facsimile of the seminal magazine created by Ulises Carrión and Cres, originally published in 1978. In this photographic book—one of very few of Carrion’s entire practice—the author is very critical about his own affiliation with the mail art movement. The book presents a series a photographs of his calling card filing box, which the author juxtaposes with witty and poignant captions.

Ulises Carrión (1941-1989) was one of the most important figures of Mexican conceptual art. His 1975 manifesto The New Art of Making Books helped define artist’s books as an autonomous artistic genre. His work includes numerous artist’s books—which were then designated as bookworks—but also video art, sound arts, performance and mail art.

Night Philosophy is collected around the figure of the child, the figure of the child not just as a little person under the tutelage of adults, but also the submerged one, who knows, who is without power, who doesn’t matter. The book proposes a minor politics that disperses all concentrations of power. Howe chronicles the weak and persistent, those who never assimilate at the cost of having another group to dominate

If winning can only occur in a competition between equal opponents, someone who isn’t equal will need to adopt a different strategy and let go of the promise, or the curse, of victory. Anna Zett takes up the challenge in this collection of personal science fiction, registering the traces systems of power leave in the body, in its locomotory, nervous and digestive systems. Zett’s voice appears in several textual guises, addressing authority, resistance, trauma and the physicality of language. Dedicated to the feminist revolution, the post-socialist subject of Artificial Gut Feeling questions logocentric and capitalist beliefs about the economy of meaning. This book gathers together fists, guts and brains to gain a deeper understanding of the non-verbal roots of dialogue.

In mines and ports across the world, human labor sustains our industrial and globalized economies. Allan Sekula imagined and set out to realize an artwork, The Dockers’ Museum, which makes the struggles of miners, dockworkers, and seafarers visible through networks of metonymic objects that embody these workers’ imaginaries. The collaborative notes gathered in this publication accompany the presentation of the Mining Section (Bureau des mines) of The Dockers’ Museum at the Anatomical Theater in Leuven in the Fall of 2016.

Invitation produced on the occasion of Ilke Gers’ exhibition Postscript at LLS Paleis, Antwerp, 16–23 February, 2020.

More information on the exhibition can be found here.

Produced on the occasion of the exhibition STAY IN – STAY OUT: tekeningen van A. van Campenhout en Marc Nagtzaam, 20 January–18 March, 2007 at the Museum van Bommel van Dam, Venlo. Designed by Roger Willems.

Marc Nagtzaam has been producing a body of work that is based on one main subject: the idea of pattern, the repetition. He draws lines, grids, circles, words or sentences as in an endless search for collecting pieces of information.