Kempens Informatieblad, was a newspaper published by Belgian artist Jef Geys between 1971 and 2018.

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.

Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.

An Account of an Ongoing Personal Discourse and Its Manifestations in Dance.

Tracing a period in her life from the 1969 Woodstock Festival through the following years living on the land, this singular dance artist’s direct and poetic writings bring a turbulent transitional era to life. Arriving in New York in the early 60’s from California, she brought with her a series of pieces that proved to be a serious influence on the development of “post modern” dance in years to come. Her “dance-constructions” were based on a concern with bodies in action, the movement not being stylized or presented for its visual line but rather as a physical fact. Combining drawings, “dance reports” (short descriptions of events whose movement made a deep impression on the author’s memory), and documentary materials such as scores, descriptions, letters to colleagues, and photographic records of performances, Forti’s eye toward creating idioms for exploring natural forms and behaviors is evident throughout.

*This is the reprint by Contact Editions and not the original 1st edition by Novia Scotia College of Art and Design from 1974.

The oeuvre of American artist Sherrie Levine takes on one of the most radical and purist positions concerning the examination of existential questions of contemporary art: she transfers the great Platonic theme that Marcel Duchamp transported into the 20th century into the present.

The exhibition catalogue of the Städtisches Museum Leverkusen Schloss Morsbroich and the Musée d’Art Moderne et Contemporain de Genève illustrates the artist’s first European solo exhibition.

Published on the occasion of Běla Kolářová: Neznámé Písmo–Fotogramy, derealizace, asambláže 1956–1996, at Galerii U prstenu, Prague, 11–30 March, 1998

Prague-based artist Běla Kolářová (1923–2010) began experimenting with photographic techniques in the early 1960s, creating photograms and X-ray photographs that continued the Bauhaus tradition of photography as an abstract medium. Thus, for a series of photograms she called vegetages, she produced miniature “artificial negatives” by pressing natural materials into soft paraffin and using them for the exposure of the photographic paper instantaneously as “negatives.” In the late sixties Kolářová increasingly began creating assemblages out of found objects including household items such as snap fasteners, needles and safety pins. Kolářová arranged these objects according to conceptual grids, and thus they are somewhat akin to the work of Nouveaux Realistes as well as to various conceptual practices. The work she produced in this way defied the aesthetic canon of Socialist Realism, and Kolářová developed a remarkable conceptual feminist style that was all her own.

In recent years, Kolářová’s work was shown at the documenta 12 (2007), at the Raven Row gallery in London (2010) and in solo shows at the Museum Kampa in Prague (2008) and Muzeum Umění in Olomouc (2007).

Published on the occasion of the exhibition  Alina Szapocznikow 1926–1973, Galeria Sztuki Współczesnej Zachęta, Warsaw, 1998. Curated by Anda Rottenberg.

Brochure/program published to coincide with the Merce Cunningham Dance Company’s tour of Japan in 1998. Published by the Nippon Cultural Centre.