Part of a large cycle comprised of different series of polyptychs with the subject matter of marble graves without any reference to dates, places or names, Sophie Calle encourages a reflection on those relationships that, in their presence or absence, define each person’s identity. Even though anonymous, each tomb in the series contains a real body that was once a person and remains alive as a memory and as a site allowing the opportunity to worship that memory by the survivors.

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

Produced on the occasion of the exhibition Pierre Klossowski: Les Barres Parallèles et autres situations de Roberte at Galerie André François Petit, Paris, November–December, 1978.

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

Produced on the occasion of documenta 7, 19 June–28 September, 1982.

Pierre Klossowski was a French writer, translator and artist. A prolific late in life artist who was internationally acclaimed for his writings and translations on Sadeian erotic expression, Klossowski is a pivotal yet underrepresented figure in the history of 20th-century art, often overshadowed by his earlier literary work and his younger brother, Balthus. Primarily working with pencil and charcoal, the laborious drawings he produced reference a variety of subjects, including Greek mythology, Sadean decadence, medieval fantasy and sexualized scenarios involving a recurring female figure, Roberte. These imagined scenes depict a perplexing and intriguing array of mature, familiar and fantastical situations involving cartoonish human figures set in fictitious landscapes that uniquely relate back to the dystopic realities he creates.

Optimundus accompanies Jos de Gruyter & Harald Thys’s major exhibition at M HKA of the same title—the term they use for their particular conception of the parallel world. Narratives and criticism by Michael Van den Abeele, Nav Haq, Jennifer Krasinksi, Dieter Roelstraete, and artist Peter Wächtler are presented along with photos, drawings, and text illustrating the unsteady barriers and tense contact between Optimundus and the real world.

Produced on the occasion of Daniel Buren’s exhibitions at the Institute of Contemporary Arts, Nagoya, April 15 – June 25, 1989 and the Touko Museum of Contemporary Art, Tokyo, April 28 – June 11, 1989.

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

Marie Laurencin (31 October 1883–8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d’Or.

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