Colouring book produced on the occasion of Kaunaus Art Book Fair, 2024. With contributions from Ona Juciūtė, Mykolas Sauka, Gabija Pernavaitė, Aiste Kisarauskaitė, Augustinas Serapinas, Gediminas Akstinas, Patricia Jurkšaitytė, Rüta Junevičiūtė and Rūtė Merk.

Compiled by Justina Zubaitė-Bundzė. Designed by Nerijus Rimkus.

Of course there is the practice of art by the artist, but an exhibition is even more so an engagement between people, places, institutions, projections, desires, coincidences, memories, and temporalities. In this monograph, artist Megan Francis Sullivan chooses the format of oral history, engaging various akteurs of the field to produce a web of language reflecting a shape of time.

With discussions with Jean-Claude Freymond-Guth, Melanie Ohnemus, David Lieske, Cornelia Kastelan, John Rasmussen, Marie Angeletti, Kelsey Olson, Megan McCready, Sara De Bondt, Antony Hudek, Alexander Schröder, Valérie Knoll, Helmut Draxler, Aura Rosenberg, John Miller, Robert Müller, Cecilie Norgaard, Moritz Scheper, Maximiliane Baumgartner and an essay by Hannes Loichinger, “The Painting of Hans Haacke.”

Produced on the occasion of the exhibition R. H. Quaytman: An Evening, Chapter 32 at Secession, Vienna, 17 November, 2017–28 January, 2018.

“R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices particular words, and how each is not just that one word, but other words as well. Quaytman’s paintings, organized into chapters structured in the form of a book, have a grammar, a syntax, and a vocabulary. While the work is bounded by a rigid structure on a material level—appearing only on beveled plywood panels in ten predetermined sizes derived from the golden ratio—open-ended content creates permutations that result in an archive without end. Quaytman’s practice engages three distinct stylistic modes: photo-based silkscreens, optical patterns such as moiré and scintillating grids, and hand-painted oil works. Each chapter is developed in relation to a specific exhibition opportunity, and consequently, each work is iconographically bound to its initial site of presentation.”—Miguel Abreu Gallery, New York

Produced on the occasion of Toots Zynsky’s exhibition of  the Tierra del Fuego Series at the Stedeliik Museum, Amsterdam, 20 May – 30 June, 1989. Zynsky created the unique filet-de-verre technique, a process of pulling very fine threads from glass canes that she uses to form bold and organic vessels.

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

Produced on the occasion of the exhibition Isa Genzken/Caroline Van Damme at the Museum Dhondt-Dhaenens in Deurle, 17 May–5 July, 1998. Curated by Luk Lambrecht. Designed by Studio Luc Derycke.

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

Produced on the occasion of A Void: Henri Chopin, Guy de Cointet, Channa Horwitz at Kunsthalle Düsseldorf 16 May – 30 June, 2013.

Each in their own way, Henri Chopin, Guy de Cointet and Channa Horwitz dedicated themselves to analyzing systems of meaning and working out their rules-based connections, transforming or reinventing them in the process. Horwitz’s drawings are indebted to the aesthetics of notation, the close link between idea, process and work. With the help of a set of rules she creates complex structures whose vibrating pictorial structure masks their underlying logic. Chopin, a key figure in French visual poetry and sound poetry—explored the relationship of chaos and order with his typewriter poems while de Cointet left behind numerous drawings full of codes and puzzles, in which he transformed meanings into visual signifiers.