Born 1978 in Chimay, Raphaël Van Lerberghe lives and works in Havré (Belgium).

Produced following the eponymous exhibition at Sant’Andrea de Scaphis, Rome, from November 21, to December 19, 2015.

Following the artists’ previous series of life-size puppets in Die Schmutzigen Puppen von Pommern, this new publication presents a collection of one hundred sixty-four small puppets.

Produced on the occasion of the eponymous exhibition at The Power Station, Dallas,  April 8 – June 12, 2015.

Part document, part photographic album, this artists’ book by Jos de Gruyter and Harald Thys captures the sculptural revisionings of the descendants of an executioner family from Greifswald in the historical province of Pomerania.

Designed by Boy Vereecken and Harald Thys.

Produced on the occasion of the eponymous touring exhibition at CCA Wattis Institute for Contemporary Arts, San Francisco; MoMA PS1, New York; and Raven Row, London, in 2015.

The conceptual duo Jos de Gruyter and Harald Thys continue in the project “Fine Arts” with their playful approach that draws on dystopian narratives. In this scenario the artists have became watercolorists; unfashionably harping back to the previous century’s pictorial tradition while basing their picture making on a range of quotidian and historical images culled from the Internet.

Designed by Boy Vereecken and Harald Thys.

Produced on the occasion of the exhibition Henrik Olesen at Museo Nacional Centro de Arte Reina Sofía, Madrid, 26 June – 21 October, 2019.

With new essays by Helena Tatay, Lars Bang Larsen, Paul B. Preciado and Dodie Bellamy.

Henrik Olesen explores, with a conceptually rigorous approach, the structures of power relations and systems of knowledge, revealing some of their inherent logics, those which contribute to social and political regularisation.

Olesen employs cheap, everyday materials to make collages, posters, texts, sculptures, installations and architectural interventions which critically examine contemporary culture and socially disseminated normalisations, thereby questioning quotidian conventions in family structures, the construction of identities and their historiography, the media, legal discourses, art history, and other sources. (Exhibition publicity)

Conceived as a reader, this volume includes essays by cultural critic Elisabeth Lebovici, Claire Le Restif, Fiona Corridan, garden historian Marco Martella, and journalist and activist Cy Lecerf Maulpoix, a comprehensive interview with Jarman’s collaborator James Mackay, as well as testimonies—among other Jarman’s friends—by actress Tilda Swinton and musician Simon Fisher Turner, and an illustrated chronology.

Jarman’s militant Queer Paintings series (1992), his tender Super8 films from the mid-1970s, his emotional assemblages made at Prospect Cottage (Dungeness, Kent) whose cultivation was both a form of therapy and a metaphor for his own survival after he was diagnosed with AIDS in 1986, are considered together to focus on Jarman as a visual artist—a painter and an assemblagist—and how his artistic practice can be understood as a catalyst for his manifold activities and visions.

Published following Derek Jarman’s exhibition Dead Souls Whisper (1986–1993) at Le Crédac, Ivry-sur-Seine, in 2021.