Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterised by a formal rigour combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

Produced as a contribution to the exhibition Commitment, een keuze uit drie jaar Fonds BKVB, Las Palmas, Rotterdam, 2002. The text which is derived from a fortune cookie, has taken various forms and media in Bik Van der Pol’s work since 2000.

Maria Eichhorn Aktiengesellschaft began its life in December 2002, as both a corporation and a work of art. Upon an invitation to participate in Documenta 11, Maria Eichhorn founded an Aktiengesellschaft, or public limited company. As is typical of such entities, the newly created firm was in her own name. It held a 50,000 euros portion of Documenta’s exhibition budget—divided into 50,000 shares of a euro apiece—meeting the minimum requirement of subscribed capital for an Aktiengesellschaft.

Maria Eichhorn Aktiengesellschaft mimetically uses the structure of the corporation against itself. The artist remains its sole managing board member and initial shareholder; she transferred all shares of the company to itself, to be held in perpetuity. The corporation belongs to itself, or, in Eichhorn’s words, “it ultimately belongs to no one,” and “the concept of property disappears in this case.”

More information can be found on the work here.

Produced on the occasion of Armin Krämer & Kai Althoff’s exhibition at Kunstverein Braunschweig, 21 September–10 November, 2002. With texts by Kai Althoff and Armin Krämer, Miriam Tölke. Edited by Karola Grässlin.

A set of 8 postcards in a plastic slipcase, produced by Janet Burchill and Jennifer McCamley in 2002.

Biography of Öyvind Fahlström written by Bengt Abrahamsson and translated by June Abrahamsson.

“Öyvind Fahlström (1928–76) was born in São Paulo to Swedish-Norwegian parents. Fahlström was unquestionably one of the twentieth century’s most innovative and versatile artists. His incentive was to investigate economical, political and social issues and the production of meaning. Rather than developing a style, he worked with a variety of different media and techniques: poetry, theater, journalism, criticism, drawing, painting, film, television, happenings, radio, objects, graphic design, and installations.”—Modern Museet