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.

Louise Lawler focuses her camera on high art and its spaces, from the rarefied white cube to the windowless storeroom, from the collector’s luxurious bedroom to the featureless boardroom. Part institutional critique, part social commentary and part wandering gaze, Lawler’s glossy photographs redirect the viewer’s attention from the artworks to their environs, exposing a set of supple relationships surrounding the presentation and marketing of art and its role in conferring and reflecting power.

In 1984, Lawler was granted access to the homes of visionary collectors Burton and Emily Tremaine, and she has since tracked the works she photographed there as they have wended their way through museums and auction houses, this publication gathers almost all the Tremaine Pictures produced between 1984 and 2007.

The early work of Mladen Stilinović was marked by his involvment in poetry and experimental film. His interest soon evolved in the relationship between visual symbols and words, leading to the creation of a series of collages, hundreds of artist’s books, paintings, installations, and videos. Stilinovic’s artwork is characterized by the use of everyday materials, simplicity, social criticism and questioning the role of art.

With an introductory text by by Branka Stipančić. You can see Stilinović interviewed about his artists books here.

Produced on the occasion of the exhibition STAY IN – STAY OUT: tekeningen van A. van Campenhout en Marc Nagtzaam, 20 January–18 March, 2007 at the Museum van Bommel van Dam, Venlo. Designed by Roger Willems.

Marc Nagtzaam has been producing a body of work that is based on one main subject: the idea of pattern, the repetition. He draws lines, grids, circles, words or sentences as in an endless search for collecting pieces of information.

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.