Poster produced on the occasion of Guy Mees: The Weather is Quiet, Cool and Soft at MuZEE, Oostende, 24 November, 2018–10 March, 2019. The Weather is Quiet, Cool and Soft presented works from different stages in the career of the Belgium artist Guy Mees (1935–2003) to shed light on his intuitive and conceptual approach. The selected works ranged from early lace pieces generically entitled Lost Space to the films and the photographs of the series of portraits Difference of Levels, never before shown structuralist works from the 1970s, pastel on paper series from the mid-1970s and paper cut-outs from the 1980s. Together, these allow a study of Mees’s practice and his ideas of mutability, fragility, porosity and the expansion of pictorial space into social space. The title of the exhibition (taken from a note by the artist) is a reference to the atmospheric impermanence in Mees’s work and his relativist poetical approach.
Exhibition brochure produced on the occasion of Guy Mees: The Weather is Quiet, Cool and Soft at MuZEE, Oostende, 24 November, 2018–10 March, 2019. The Weather is Quiet, Cool and Soft presented works from different stages in the career of the Belgium artist Guy Mees (1935–2003) to shed light on his intuitive and conceptual approach. The selected works ranged from early lace pieces generically entitled Lost Space to the films and the photographs of the series of portraits Difference of Levels, never before shown structuralist works from the 1970s, pastel on paper series from the mid-1970s and paper cut-outs from the 1980s. Together, these allow a study of Mees’s practice and his ideas of mutability, fragility, porosity and the expansion of pictorial space into social space. The title of the exhibition (taken from a note by the artist) is a reference to the atmospheric impermanence in Mees’s work and his relativist poetical approach.
Set of 8 postcards produced on the occasion of Haim Steinbach: every single day, a comprehensive solo exhibition at the Museum Kurhaus Kleve, 22 September, 2018–27 January, 2019.
For more than four decades, Haim Steinbach has explored the psychological, aesthetic, cultural and ritualistic aspects of collecting and arranging already existing objects. His work engages the concept of “display” as a form that foregrounds objects, raising consciousness of the play of presentation. Steinbach selects and arranges objects—which range from the natural to the ordinary, the artistic to the ethnographic—thereby emphasizing their identities, inherent meanings and associations. An important influence in the growth of post-modern artistic dialogue, Steinbach’s work has radically redefined the status of the object in art.
First issue of an annual magazine of photographic stories, edited and designed by Julie Peeters. Twelve contributors present new or previously unpublished work. BILL prioritizes visual reading without distraction, the images that appear in the magazine are printed without any accompanying text. Contributors to the first issue are: Jochen Lempert, Ketuta Alexi-Meskhishvili, Katja Mater, Elena Narbutaite, Rosalind Nashashibi & Vivian Suter, Arthur Ou, Scott Ponik, Adam Putnam, Johannes Schwartz, Algirdas Šeškus, Linda van Deursen, and Stand Up Comedy.
Mode and Mode is a periodical that addresses printed matter in fashion practice. Each issue explores experimental publishing in fashion with an interview around a print-based project at the margins—one that has critical effects to fashion as a discourse—with the aim to level alternative, lesser-known fashion practices with contemporary fashion discourse.
Mode and Mode six ‘Art for All’ featuring an interview with Hans Ulrich Obrist on the publication point d’ironie co-founded with artist Christian Boltanski and agnès b., and a foldout poster created by Kate Meakin and Jessie Kiely.