Yuji Agematsu, Four Seasons is a unique artist book presenting the artist’s renowned zips, miniature sculptures comprised of reanimated urban detritus collected by Agematsu on daily walks in New York City and encased within the cellophane wrappers of cigarette packs.

The publication accompanies an exhibition at the Secession, Vienna of 366—one per day—of these arrangements from 2020, that infamous calendar year. The book features images of a selected month from each of the four seasons.

Designed by Studio Claus Due, Copenhagen.

Produced on the occasion of René Daniëls’ 1978 exhibition at the Van Abbemuseum, Eindhoven.
With a text by Jaap Bremer. Designed by Walter Nikkels.

Produced on the occasion of the exhibition Until it Fitted! at Établissement d’en face, Brussels, 24 March–28 April, 2007.

Jacqueline Mesmaeker (born 1929 in Brussels) started her career as a fashion designer from 1962 till 1972, before she turned to visual and artistic issues. Drawing, an art form she taught in several art schools (ERG, La Cambre…), runs throughout her rich work that includes installation, video, photography, writing and design. She won the Norwich East Award, in 1996.

Produced on the occasion of group exhibition Atelier 8 at the Stedelijk Museum, Amsterdam, 15 January–14 February, 1971.

SM Cat. No 494.

Designed by Wim Crouwel.

Raoul Hausmann’s photographic work has long been underrated. This key artist of the twentieth century is remembered primarily for the central role he played in Berlin Dada with his assemblages, photomontages, and optophonetic poems, yet the vicissitudes of history caused his photography, an essential facet of his oeuvre, to be cast almost entirely into the shade. From 1927 on, Hausmann became an avid and restless photographer in Germany, in particular during his stays at the North Sea and Baltic coasts. While in exile in Ibiza after the Nazis came to power, he took an interest in the local populace and vernacular architecture, before emigrating again in 1936. During this intense decade, he reflected extensively on photography, developing a highly individual practice in the medium, simultaneously documentary and lyrical, inextricably linked to his way of thinking and living.

A-FL’s 78 kilograms (2020) is the first installment in an annual edition of postcards, titled My Weight in Gold. The phrase is a pun on the metaphoric idiom ‘worth its weight in gold’, which has its origin in the Roman Empire and first appeared in English by the early 1300s.

For each edition, A-FL weighs himself, after which seeks out four objects of the same weight. Images of these objects, in this first installment ranging from a naval ammunition rig to ten cans of 3Coty Cat Food, are printed as postcards with the corresponding weight hot-foiled in gold onto them.

The four cards are collected in an envelope, with 312 kilograms rubber stamped in gold on its recto side; making up the total weight of the objects on the cards when added together.