Produced on the occasion of Perspectief in textiel at the Stedelijk Museum, Amsterdam, 1969. Includes the work of Magdalena Abakanowicz, Jagoda Buic, Marguerite Carau, Marie-Thérèse Codina, Elsi Giauque, Sheila Hicks, Bohdan Mrázek, Ryszard Wojciech Sadley, Jindrich Vohánka, Claire Zeisler. Designed by Wim Crouwel and Jolijn van de Wouw.

Produced on the occasion of Manfred Pernice’s solo exhibition at Lulu, Mexico City, this monographic catalogue focuses on the artist’s ongoing Kassetten (cassettes) series, initially begun in 2012. Spanning back to 1996, the book features abundant documentation of the various manifestations of the works, visual references, and other recent sculptures as well as texts by Lulu co-founder Chris Sharp.

Produced on the occasion of the exhibition Jef Geys: KOME, Koninklijke Musea voor Schone Kunsten van België and Musées royaux des Beaux-Arts de Belgique in 2012. Design by Luc Derycke.

Iwata Nakayama (1895–1949) is regarded as a one of the most important contributors to the Shinko Shashin movement. After graduating from the Tokyo School of Fine Arts in 1918, he received a scholarship from the Japanese government and went to California before settling in New York. At the same time Nakayama was attracted to avant-garde movements and moved in bohemian circles where he met Shimizu Toshi. Shimizu encouraged him to move to Paris in 1926 where he met Man Ray, Fujita Tsuguji, and Enrico Prompolini. These encounters left a deep impression on him and when he returned to Japan in 1927 he energetically set about forming his own vision of ‘pure art photography’. In 1929 he settled in Ashiya (nr. Kobe) and in the following year founded the Ashiya Camera Club with Hanaya Kambei, Korai Seiji, and others. This club became the main driving force of New Photography in Japan. Together with Kimura and Nojima he founded Koga magazine in 1932 that was the most important forum for artistic photography at the time.

Stranded Assets–Modulo 2: Protezione Ambientale is a modified reproduction of a regulations and emissions handbook retrieved from the recently decommissioned coal-fired Giuseppe Volpi power station in Porto Marghera, Venice. Lewitt retrieved this handbook in the course of research for his work Stranded Assets at the 57th Biennale d’Arte Venezia.

The general set of operational standards presented and explained in this handbook are paired against fragments and images taken from the Volpi plant, inserting particular fragments from this defunct energy infrastructure against the legislative context that prescribed its operation. Most conspicuously, transparency pages depicting four lamps featured in the central stairwell of the power station are evenly dispersed throughout the book. The lamps’ form resembles an open book whose ‘pages’ are populated with vertical rows of glass rods, through which light is refracted into the building’s stairwell.

Lewitt’s contribution to the Biennale consists in temporarily displacing these lamps into the Venetian Arsenale—the former site of the turbines that powered Venice, which was taken over by the Volpi plant. In his installation in the Arsenale, the original lamps illuminate his designated exhibition area. As an updated facsimile of an ENEL technical manual detailing emissions standards, the book pursues the gap that persists between the experience of a well-lit space of representation, and control of the energy commodity that lights it.

Published on the occasion of the exhibition John Knight: Some Works, 7 April–20 May, 1990 at Witte de With, Rotterdam. Text includes Benjamin H.D. Buchloh, Knight’s Moves: Situating the Art/Object and Anne Rorimer, John Knight: Designating the Site.

Since 1969, American artist John Knight (1945) has concentrated on the relationship between architecture, design and art. He bases his work on the interplay between the material object and its contextual conditions, and comments on the meaning of cultural object and cultural space by employing strategies that invert the conventions of production and reception. See more on the show here.