Produced on the occasion of the exhibition Jef Geys: Painting Clouds at Micheline Szwajcer, Brussels, 11 December, 2015–23 January, 2016

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.

Since the late 1980s, Tom Burr has been reusing appropriation strategies in his art. Not confined to his photographic and sculptural works, they also lend momentum to many of his writings. The artist has created assemblages of personal writings and sources, differing in nature and style, which he has used as both conceptual and aesthetic materials in his oeuvre. Thus, Burr extends his art praxis into the field of writing, and vice versa; art and language cannot be dissociated from each other. At times, the text precedes and anticipates the work; at others, it emanates and results from it; in most instances, it is an integral part of it. Words constitute the work.

This publication brings together extensive material from Hamlet, mise-en-scène presented at Portikus, along with recently restored as well as never-published stills, drawings, and writings by American filmmaker and artist Jack Smith, related to his film Hamlet in the Rented World (A Fragment) (1970–73).

Hamlet, mise-en-scène, directed by Mark von Schlegell, was an adaptation that retold Shakespeare’s most abused tragedy while channeling the ghost of Jack Smith. The two-night rendition of Hamlet was performed by members of Städelschule’s Pure Fiction seminar, presented here alongside a rare selection of works by Smith, both from private collections and from the Jack Smith Archive.

Texts By Sylvère Lotringer, Birte Löschenkohl, Sophie von Olfers, Laura Preston, Juliane Rebentisch, Mark von Schlegell.

Produced on the occasion of Rosemarie Trockel’s solo exhibition Märzôschnee ûnd Wiebôrweh sand am Môargô niana më at Kunsthaus Bregenz, Bregenz, 24 January–6 April, 2015. Edited by Yilmaz Dziewior with texts from Johanna Burton, Yilmaz Dziewior, Sam Pulitzer, and Beate Söntgen.

ZIP: 01–01–14…12–31–14 is an annual. It records, in photographs, one year of a work Yuji Agematsu has been making since the mid 1990s. To accomplish this work, Agematsu takes daily walks and drops what he finds into the cellophane wrapper from a cigarette pack. The book is accompanied by a facsimile of the notes Agematsu keeps to map when and where these objects were encountered. Produced in conjunction with exhibitions at Yale Union, Portland; Artspeak, Vancouver & Real Fine Arts, New York.

Photographed by Aaron Flint Jamison and Scott Ponik. Designed and edited by Julie Peeters and Scott Ponik with Robert Snowden.

Barbara Bloom explores the nature of gifts in relation to aspects such as wrapping, covering and uncovering, pleasure, secrets, and generosity. Through an exploration of art historical and cultural practices, she reveals the complicated relationship we have with the concept of the gift, considering how these traded objects take on meaning and serve as symbols of our affections, but also anticipate a sense of loss. The gift is a means of apology, making advances, gaining trust, and providing assurances. Through gift-giving, we show a version of intimacy, love, and desire that is deliberate and controlled, but also often more meaningful than intended. With texts by Susan Tallman.

Comes with a bookplate signed by the artist.