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.

Poster/invitation produced on the occasion of exhibition Roma Publications, 1998–2007, 7–24 November, 2007 at The Narrows, Melbourne.

Roma Publications is an Amsterdam based art publisher, founded in 1998 by graphic designer Roger Willems, and artists Mark Manders and Marc Nagtzaam. It is used as a platform to produce and distribute autonomous publications made in close collaboration with a growing number of artists, institutions, writers and designers. Related to the content, every issue has its own rule of appearance and distribution, varying from house to house papers to exclusive books.

Poster/invitation produced on the occasion of Experimental Jetset’s exhibition Posters, 13 July–4 August, 2007 at the Narrows, Melbourne.

Experimental Jetset is a small, independent, Amsterdam-based graphic design studio, founded in 1997 by (and still consisting of) Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Focusing on printed matter and site-specific installations, and describing their methodology as “turning language into objects”, Experimental Jetset have worked on projects for a wide variety of institutes.

More information on the exhibition can be found here.

This book brings together the first complete survey of projects by the young Czech artist Katerina Sedá (*1977). The artist’s book is in the form of a box containing 10 folders which document each project (diagrams, graphs, drawings, texts, photographs, questionnaires) that Sedá carried out from 1999–2007.

Katerina Sedá bases her work on the observation of “invisible” contexts and social relationships between individuals in her most immediate surroundings—within her family and her birthplace, Ponetovice, a village in the Moravian countryside. The observations she makes (in the form of drawings, texts, and diagrams) then prompt a series of assignments, tasks, and games which she carries out in those surroundings. For example, her “society game” called “Nic tam není” [There’s Nothing There] (2003), involved the participation of all the inhabitants of Ponetovice. Based on observations she made, she created a universal “Regime for a Day”—an ordinary Saturday in a Moravian village. After cajoling her fellow villagers for some time, she was able, one Saturday, to get them to synchronise all their activities according to the regime she devised for the day, doing all the same things at the same times throughout the day. Katerina Sedá also collaborated on several projects with her grandmother. In “It Doesn’t Matter” (2005), her grandmother created several hundred drawings from memory, documenting the objects she had sold at the household goods shop where she’d worked her whole life. Sedá’s latest project was exhibited at Documenta XII.

Fourth volume of the series “Tranzit,” edited by Vít Havránek and focusing on Central and Eastern European artists.