Aldo van Eyck was one of the most influential protagonists of the architectural movement Structuralism. From 1983 Van Eyck worked in association with his wife, Hannie. Their projects show a further liberation from CIAM rationalism and a passionate exploration of new possibilities in the fields of structure, form and colour.

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

Produced on the occasion of the awarding of the Charles Nypels Prize to Walter Nikkels, who designed and edited countless books and catalogues, including for the Van Abbemuseum, the Stedelijk Museum Amsterdam, and for various other Dutch and foreign museums and institutes, invitations, paper money, stamps, posters, logos, house styles, and much more.

Designed by Wigger Bierma & Walter Nikkels.

*Please note this publication is secondhand and has some traces of previous ownership. (Some sun damage to the back cover)

Angola to Vietnam is Christopher William’s 1989 artist’s book based on his photographic piece of the same title featuring twenty-seven images of glass flowers from Harvard University’s Peabody Museum of Natural History. “Drawing from the Peabody’s cache of sculptural specimens, Christopher Williams selected only those plants native to countries in which state-sponsored murders occurred in 1984. The information affixed to each photograph mimics the museum’s labels, but here Williams places the country of origin above the flower’s Latin name, subtly foregrounding the political over the natural. By referencing government-sanctioned atrocities, Williams calls attention to the flowers’ colonial origins, as the science of botany is rooted in the tangled and often exploitative history of international exploration and trade”.

Abstract painter Giorgio Griffa, closely linked to the Arte Povera movement, first became known in the 1960s as part of an Italian generation of artists who sought to radically redefine painting.

Believing in the ‘intelligence of painting’, Griffa allows the essential elements of his process, such as the type or width of the brush, the colour or dilution of the paint and the nature of the canvas, whether linen, cotton, hemp or jute, to influence and form the work. Griffa’s approach is performative and time-based—often working horizontally on the floor, his rhythmic, formal gestures soak into the unprimed and unstretched material.

Produced on the occasion of the exhibition Lili Dujourie at Bonner Kunstverein, 8 December, 1989–11 February, 1990; Centre National d’Art Contemporain–Magasin, Grenoble, 13 May–24 June, 1990 and daadgalerie, Berlin, September–October, 1990.

The work of Lili Dujourie provokes an astutely intellectual yet poetic engagement with the world around us through various mediums, from painting and sculpture, to photography, collage, video and installation. Dujourie operates at the intersection of minimalism and conceptualism, consistently and systematically challenging the subject position of the viewer through clever experimentation with material and form.

Produced on the occasion of the exhibition Lili Dujourie at Bonner Kunstverein, 8 December, 1989–11 February, 1990; Centre National d’Art Contemporain–Magasin, Grenoble, 13 May–24 June, 1990 and daadgalerie, Berlin, September–October, 1990.

The work of Lili Dujourie provokes an astutely intellectual yet poetic engagement with the world around us through various mediums, from painting and sculpture, to photography, collage, video and installation. Dujourie operates at the intersection of minimalism and conceptualism, consistently and systematically challenging the subject position of the viewer through clever experimentation with material and form.