Memorial edition produced on the 10 year anniversary of the deaths of Wies Smals, Josine van Droffelaar, Gerhard von Graevenitz, Martin Barkhuis and Hendrik Smals in a plane crash.

“This is a facsimile of a small aluminum tag which reads ‘Aanwezig’ (Present) on one side, and ‘Afwezig’ (Absent) on the other. It was found at an airport for private planes in Holland in May of 1983. These tags hung on hooks under the names of pilots who frequented that airport, indicating their presence or absence. I was moved to take one, and have had it on my desk ever since.”

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

Produced on the occasion of the exhibition The Warsaw Suite at the Centrum Sztuki Wspólczesnei, Zamek Ujazdowski, Warsaw, 12 March–25 April, 1993.

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

A contribution from the original publication On Taking a Normal Situation and Retranslating it Into Overlapping and Multiple Readings of Conditions Past and present.

An exhibition devised by Yves Aupetitallot, Iwona Blazwick and Carolyn Christov-Bakargiev within the framework of ANTWERP 93. Its title was inspired by Gordon Matta Clark who made one of his final works in the city, and which in turn led to the foundation of M HKA. In some ways the subject of this exhibition was ‘the exhibition’. What it proposed, however, was a new relation between structure, location, context, artist and audience.

Kristján Guðmundsson (born 1941) is a contemporary Icelandic conceptual artist. He started his career as an artist in the 1960s as a member of SÚM – a group of young artists influenced by then-new currents in conceptual and installation art. Guðmundsson’s art reflects both prevailing traditions in late 20th century western art in general, and the dominance of abstract and conceptual art in the post-war art of Iceland in particular. He has said, “I am trying to work within the field of tension that exists between nothing and something”.

Produced on the occasion of Mladen Stilinović’s exhibition Geometrija vremena—Kolaži 1993-1977 (Geometry of Time: Collages 1993–1977) at Centar z akulturu i obrazovanje, Zagreb, 1993.

Mladen Stilinović frequently employed everyday materials in his work, bringing into focus the interconnection of politics, language, artistic production, and daily life. From 1975–79 he was a member of Zagreb’s Group of Six Artists. His work included drawings, collages, photographs, artist books, paintings, installations, actions, films, and video.

Etel Adnan’s novel “Paris, When It’s Naked amazes our retinas, ears, lips, fingertips, and noses with sensing, talking, and envisioning the city of Baudelaire and Delacroix, Mallarme and Picasso, Sartre and Djuna Barnes, Miller and Nin, Vietnamese and African refugees, revolutions and Bohemia. This tale of the Creative Now is told through the fine-tuned sensibility of Etel Adnan, the expatriate poet-painter who knows the French Capital as wholly as she does Beirut and San Francisco, her other homes. She is also the author of Sitt Marie-Rose, an underground novel of the Lebanese Civil War, and many books of poetry. Her new work is a philosophically charged lyric in prose. The elan vital of every word evokes the eternal present of this wise woman. A highly personal, life-enhancing masterpiece in a deathly age of impersonality. An indispensable book by an indispensable writer”—Morgan Gibson.