Produced on the occasion of the exhibition Guy Mees at Micheline Szwajcer Gallery, Antwerp, 9 September–22 October, 2016.

Guy Mees’s (1935–2003) photographs, videos, and above all his fragile works on paper are characterised by a formal rigour combined with sensitivity and delicacy. The uniqueness of his oeuvre lies precisely in its avoidance of conventional aesthetics and discursive classifications. A leading figure of the Belgian avant-garde, Mees left behind an outstanding body of work that transgresses geometric abstraction, Minimalism, Conceptualism, and applied art.

Produced on the occasion of the exhibitions; Guy Mees at Galerie Micheline Szwajcer, Antwerp, 9 September–22 October, 2016 and Guy Mees Archives at Bureau Des Réalités, Brussels, 11 September–12 November, 2016.

Amongst other things, the publication presents a group of works dating from 1970 which had not been publicly exhibited since the year of their conception. Recent These sources highlight Mees’ specific, non-authoritarian intentions regarding notions of seriality and rationalism and industrial materials which were prevalent at that time. Indeed, Mees’ working method was modular in essence, allowing permanent structures to become precarious. Each piece could be moved around the room, indicating or revealing the exhibition space, while the “positive” representation of these same structures faced their “negative” counterparts (the metal bars were mirrored by their soft and fragile white felt protective covers). This gesture finds its origin in a series of very particular and sensual aluminium objects named “Verloren Ruimte” (Lost Space), whose minimal, geometric shapes were occasionally lit by a neon and covered in a thin layer of lace. Dating from 1960, these pieces also foreshadow a system where inside and outside are combined.

Designed by Joris Kritis and Bureau Des Réalités, Brussels.

Produced on the occasion of Luciano Fabro’s exhibition at Micheline Szwajcer Gallery, Antwerp, 20 April–4 June, 2016.

Marina Xenofontos collects and catalogues the musings of an otherwise unknown inventor known as Christophoros Kyriakides. Born in Cyprus in 1949, he invented a board game called Six Continents Stars Compass that received little recognition and was printed in a very small number of editions. By chance encounter, Xenofontos stumbled across the game, and thus started a practice-based research into the inventor’s impressive archive—documented here in photocopies of complex scribbles, diagrams and drawings. Edition of 150.

Including contributions from Nadja Abt, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, Lou Cantor, Nicolas Ceccaldi, Jay Chung, Hans-Christian Dany, Helmut Draxler, Francesca Drechsler, Martin Ebner, Haytham El-Wardany, Jana Euler, Julian Göthe, Toni Hildebrandt, Karl Holmqvist, Judith Hopf, Stephan Janitzky, Jakob Kolding, Maria Loboda, Nick Mauss, Robert McKenzie, Robert Meijer, Ariane Müller, Christopher Müller, Eileen Myles, Philip Reinartz, Gunter Reski, Mandla Reuter, Cameron Rowland, Julia Scher, Mark von Schlegell, Eva Seufert, Dan Solbach, Diamond Stingily, Wolfgang Tillmans, Vera Tollmann, Nicole Wermers, Amelie von Wulffen, Stephanie Wurster, Florian Zeyfang.

Designed by Dan Solbach & Starship.

Produced on the occasion of two exhibitions by Lucy McKenzie at Galerie Buchholz in Berlin and New York. The book takes the form of an inventory from an estate sale. It lists all items and describes them with faux provenances and sources.