Produced on the occasion of Willem Oorebeek’s exhibition Bigger, Higher, Leader!, at S.M.A.K., Ghent, 6 May–30 July, 2006.

Willem Oorebeek’s work presents a reflection on the status of the image and more especially on what technical reproduction does to an image or a message. Over the last few years he has been working on his BLACKOUT series, in which he prints on existing printed matter by hand, using black ink. The images he uses are of various origins, but he appropriates them and by making them illegible also pays tribute to them. In a certain sense, Oorebeek’s work is akin to certain aspects of Pop Art, though his is more radical. [publisher’s text]

Designed by Luc Derycke & Willem Oorebeek.

Produced on the occasion of the exhibition Wade Guyton: Color, Power & Style, at Kunstverein Hamburg, Hamburg, 29 October, 2005–8 January, 2006. With texts by Yilmaz Dziewior, Janneke de Vries, Scott Rothkopf, Daniel Baumann.

Wade Guyton rose to prominence in the mid-2000s with a landmark series of abstract paintings composed of simple forms and letters printed on canvas. Running the canvas through a commercial inkjet printer, Guyton stretched the device beyond its capacity to the point of failure, embedding the limits of a digital future onto the surfaces of his paintings.

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

In a 1979 exhibition at the Art Institute of Chicago, American conceptual artist Michael Asher, known for his site-specific work that investigates the relationship between a piece of art and its place of display, relocated a 20th-century bronze cast of Jean-Antoine Houdon’s famous marble George Washington (1785–91) from the museum’s front steps to an interior gallery. In placing the work in a new context, Asher sought to make the viewer aware of usually invisible institutional practices–the categorisation of works of art, methods of installation, and the criteria for assigning aesthetic value.

Produced on the occasion of the exhibition Marc Camille Chaimowicz at the Kunstverein Dusseldorf, 10 September–6 November, 2005.

Booklet published to accompany the performance of Partial eclipse… at the Tate, London in 15 August, 2006.

Produced on the occasion of the exhibition Julie Ault, Martin Beck: Installation at Secession, Vienna, 22 September–12 November, 2006.

The exhibition consisted of an arrangement of individually and collaboratively authored installation fixtures, arenas, and works that functioned as the display architecture produced specifically for the Secession’s space.

The vocabulary inscribed by Félix González-Torres’ series of photographs Untitled (Natural History)—Patriot, Historian, Ranchman, Scientist, Soldier, Humanitarian, Author, Conservationist, Naturalist, Scholar, Explorer, and Statesman parenthesized the exhibition. The photographs were hung on the gallery’s permanent walls.