A–The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeld, was published by ChertLüdde on September 2017, on the occasion of the exhibition which has the same title. The publication project presents the archive of mail art works received by the two German artists from beginning of the 1970s until the early 1990s. The exhibition presented all correspondence with artists whose surname (or name of an artistic group) began with the letter A.

Ruth Wolf and Robert Rehfeld met in Berlin in 1954 and married one year later. They played a central role in the dissemination and development of the Mail Art Movement in Germany. Their activity, spanning for more than two decades, created an impressive web of connections between artists and artistic groups from all over the world.

More information on the project and archive can be found here.

Exhibition poster/pamphlet produced on the occasion of Maria Hassabi’s STAGING: Solo #2 (2017), 9 December 2017 – 21 January 2018, which reimagines and adapts her multi-sited installation STAGING (2017). STAGING was previously exhibited at the Walker Art Center, Minneapolis and in documenta 14, Kassel. This new iteration will feature a lone dancer on an expanse of vivid pink carpet, enacting highly concentrated, protracted, at times barely perceptible movements. Like nearly in all of her works, STAGING: Solo #2 (2017) is a site of negotiation for her powerfully subversive performances: between the performer and their task, the spectacular and the everyday; between subject and object, bystander and viewer. In consistent ways, her pieces undermine media boundaries, clear classifications, and perceptual habits, replacing these with new, not necessarily decipherable images, while activating the viewer’s sensibilities and self-reflection to an extreme degree.

Exhibition booklet produced on the occasion of Maria Hassabi’s STAGING: Solo #2 (2017), 9 December 2017 – 21 January 2018, which reimagines and adapts her multi-sited installation STAGING (2017). STAGING was previously exhibited at the Walker Art Center, Minneapolis and in documenta 14, Kassel. This new iteration will feature a lone dancer on an expanse of vivid pink carpet, enacting highly concentrated, protracted, at times barely perceptible movements. Like nearly in all of her works, STAGING: Solo #2 (2017) is a site of negotiation for her powerfully subversive performances: between the performer and their task, the spectacular and the everyday; between subject and object, bystander and viewer. In consistent ways, her pieces undermine media boundaries, clear classifications, and perceptual habits, replacing these with new, not necessarily decipherable images, while activating the viewer’s sensibilities and self-reflection to an extreme degree.

Edited and illustrated by Chris Evans, and co-published with Para Site, Hong Kong.

“The ritual of the job interview can be considered as a courtship that’s conditioned by protocols that ask for a quite particular display: with social relations as material, a dance of conformity, the attempted imagining and echoing of expectations.”

This anthology of commissioned writing includes contributions by Nadim Abbas, Howie Chen, Heman Chong, Matthew Dickman, Jason Dodge, Angie Keefer, Holly Pester, Natasha Soobramanien, Marina Vishmidt, and Jonas Žakaitis. Designed by Will Holder.

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.

You can find a digital version of this publication here.

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.