Produced on the occasion of Michaela Eichwald’s exhibition Ich kann nicht zulassen, dass… 2001 at Kunstverein Braunschweig Studiogalerie, Germany. Texts by Michael Krebber and Karola Grässlin.

This edition annotated by Alexis Vaillant includes a substantial selection of the writings that Philippe Thomas published in the course of his career and attributed to collectors of his work or to fictional or real characters, in keeping with the play on identities that was one of the fundamental elements of his artistic practice. The texts and the accompanying notes explore the way reality and fiction become blurred in the ready-mades by this French artist. In 1990, Thomas borrowed the title of a book by Vladimir Nabokov for his exhibition at the CAPC musée d’art contemporain de Bordeaux, Feux pâles, in which he fictionalised the authority of the museum and his own identity as an artist by turning his signature on the contract with the museum into the artwork. This is volume seven in the Llibres de recerca series and includes contributions by Marc Blondeau and Jean-Marc Avrilla.

Reprint of the publication originally published in 1976 for Sanja Ivekovic’s exhibition at The Gallery of Contemporary Art, Zagreb.

Following in the autobiographical vein of her artist’s book Double Life, in Tragedy of a Venus Ivekovic presents a selection of photos of Marilyn Monroe coupled with similarly composed snapshots and posed photos of the artist from throughout her life.

Reprint of the publication originally published in 1976 for Sanja Iveković’s exhibition at the Museum of Contemporary Art, Zagreb.

Dedicated to the series Double Life 1959–1975, where the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of popular magazines and newspapers. One part of each pair depicts Iveković through distinct periods of her life, enacting for the camera different poses, while the other part shows models advertising in women’s magazines such as Elle, Grazia, Brigitte, and Svijet.

“The works of Joëlle Tuerlinckx can be typified as experiments in which destructive and constructive impulses simultaneously redeem each other. That which is destroyed—or gives that impression to be—is readily rearranged. Some of Tuerlinckx’ work is suggestive of images that fell to pieces. And yet, even those are not ruins, unrestrainedly delivered to the hands of time. In this ample volume the artist endeavours to put forward an inventory of her film and video work up to the present day, ’un travail d’archivage en cours’. Soon this book abandons its attempt at drawing up an inventory in favour of an autonomous rearrangement, a rereading of a myriad of videos, films and film fragments, installations and contexts. A very impressive document.”—Argos

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.