Produced on the occasion of the restoration of Lili Dujourie’s video works by Argos Editions, Brussels in 2002.

“Lili Dujourie made her videos in complete solitude, without a cameraman or a technical entourage. She saw on a monitor what the camera recorded of her from a fixed viewpoint. Her videos were never edited ‘extenuatingly’ afterwards; the video had to deliver the desired image or the work was destroyed. The vulnerability of the making of videos is comparable to the technique of the aquarelle—the touch should show great precision, otherwise the work fails. Mirrors, a mantelpiece, a window, slightly reflecting because of the entering light, a bed with white sheeting: familiar, yet as regards to content strongly layered encompassing ‘signs’ within which Lili Dujourie moved about in a suite of punctual movements, heightened with erotic suggestions and connotations. Time is being lived (in) in these videos—they reflect a conscious undergoing in the spectator of slow actions without finality”—Luk Lambrecht

Entry ticket produced on the occasion of the Luigi Ontani’s performance Muzikale Hel at Ronde Lutherse Kerk, 2 July, 1977.

Unbidden Tongues #4: Oral Informants draws on the work of Australia social historian Janet McCalman who, in 1998, published a comprehensive history of the Melbourne Women’s Hospital. Written through the medical records of the women who were at one time or another the hospital’s temporary residents, McCalman’s account draws on a vast archive of 14,000 gynaecology records and over 70,000 midwifery records to build the hospital’s history through the administrative documents that litter its archive. Composed of an article written by McCalman in 1999 as well as a case file of original nursing notes, Oral Informants presents the process of penning a (medical) history lesson uniquely based in the oral testimony of women.

Produced on the occasion of Howardena Pindell’s exhibition Rope/Fire/Water at the Shed, New York, 16 October, 2020–28 March, 2021.

Howardena Pindell is an American artist, curator, and educator. She is known as a painter and mixed media artist, her work is often political, addressing the intersecting issues of racism, feminism, violence, slavery, and exploitation.

Produced on occasion of Jacob Kassay’s exhibition at R.M. Schindler’s Fitzpatrick-Leland House in Los Angeles, 26–27 September, 2015.

This artist’s book has been developed as an index—with relative digitally drawn blueprints, structural diagrams and basic dimensional specifications—for the entire series of wooden stretchers that are part of “Remnants,” previously exhibited at The Kitchen and 303 Gallery in New York (2013).

“Recuperating leftover pieces of canvas that remain from those he cuts and stretches, Jacob Kassay found himself […] with a collection of scraps that still had value. More specifically, these scraps were of value to Kassay because they indexed his system of production. Once again, he seized upon a system that fetishizes his hand but discounts any aesthetic decision. These canvas forms, which Kassay calls ‘remnants,ʼ were made negatively through the creation of silver paintings and other works.”—Peter Eeley

Produced on the occasion of two exhibitions by Tetsumi Kudo; Cages, Peintures À L’ordinateur at Galerie Beaubourg, Paris and Cages, Multiples at Galerie Vallois, Paris, 16 February–12 March, 1977.

With a text reprinted from the arTitudes, Number 15, February 1977.