Promotional card produced on the occasion of the exhibition Andy Warhol, at the Stedelijk Museum, Amsterdam, 23 October 2007–13 January, 2008.

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

Mathias Poledna’s work Crystal Palace is a 35mm film installation comprised of a small number of long, static shots of the montane rainforest landscape of the Southern Highlands Province of Papua New Guinea. Only subtle changes in light and movement in foliage provide visual cues to the passing of time. The film is accompanied by a dense and highly edited soundtrack created from on-location and archival field recordings that oscillate between distinct insect and bird sounds, and drone-like noise.

Poledna’s title, Crystal Palace, evokes the monumental glass-and-steel structure of that name constructed for the Great Exhibition of 1851 in London, an important precursor of modern architecture and industrialized construction that was built to present the newest products of the capitalist economy, accompanied by exotic displays, fauna and flora.

2007 reprint of a 1966 Great Bear Pamphlet.

Two dramas that explore improvisation and chance by the innovative poet Jackson Mac Low. In each, Mac Low gives the hypothetical performer general instructions arrived at through chance operations involving various linguistic structures. In Port-au-Prince, the speeches consist of “pseudo-sentences” that appear as though they make sense but in fact do not. Adams County Illinois uses the same structure but consists of folk-sayings quoted from the 1935 Folk-Lore from Adams County Illinois by Harry Middleton Hyatt.

Produced on the occasion of the exhibition Kunst Aus Los Angeles Der 60Er Bis 90Er Jahre at the Kunstverein Braunschweig, 2 December, 2006–18 February, 2007, which concentrated on artistic positions from the Sixties to the Nineties and on works which explore conceptual approaches (Bas Jan Ader, Michael Asher, John Baldessari, Chris Burden, Douglas Huebler, Larry Johnson, William Leavitt, Bruce Nauman, Maria Nordman, Stephen Prina, Allen Ruppersberg, Ed Ruscha, Christopher Williams) as well as on Mike Kelley, Paul McCarthy and Raymond Pettibon’s more recent Pop-Art-based assemblages which expose everyday myths, prejudices, and tenets of belief as lies that serve to perpetuate social oppression.

Designed by Yvonne Quirmbach.

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.

Stephen Willats has made work examining the function and meaning of art in society since the 1960s. His work has involved interdisciplinary processes and theory from sociology, systems analysis, cybernetics, semiotics and philosophy. This manifests in wall installations, project works, films & computer simulations, drawings & diagrams, bookworks and texts.

This publication includes a conversation between the artist and Michael Stanley, and brings together a range of recent projects and documents the newly commissioned work Person to Person, People to People, the result of a 12 month engagement with the people of the Netherfield estate, Milton Keynes.