If this book had been titled something like “How to listen” or “How to be all ears,” the title would have been appropriate to the content and directly explained the book’s focus. Why, then, does the title prefer to obscure its subject rather than reveal it, running counter to a title’s traditional function? The reason is that this book is grounded in the experience of the unseen listener. Speakers are seen when they speak, whereas listeners recede into the background of the scene dominated by speakers. Listeners spend a long time listening to that around them, and hope to maintain their wall-flower position when they speak—their speech having no need to take front row or appear in the spotlight. The title of this book conceals its subject in a desire to protect the listener from returning to the spotlight once he or she has left it.

Haytham El-Wardany is an Egyptian writer currently residing in Berlin. He recently published Kitab Al-Nawm (The Book of Sleep).

This is the first book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional. Design by Julie Peeters.

Iman Mersal intricately weaves a new narrative of motherhood, moving between interior and exterior scapes, diaries, readings, and photographic representations of motherhood to question old and current representations of motherhood and the related space of unconditional love, guilt, personal goals, and traditional expectations. What is hidden in narratives of motherhood in fictional and nonfictional texts as well as in photographs?

Iman Mersal is an Egyptian poet and associate professor of Arabic Literature and Middle Eastern Studies at the University of Alberta, Canada.

This is the fourth book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional. Design by Julie Peeters.

Iman Mersal intricately weaves a new narrative of motherhood, moving between interior and exterior scapes, diaries, readings, and photographic representations of motherhood to question old and current representations of motherhood and the related space of unconditional love, guilt, personal goals, and traditional expectations. What is hidden in narratives of motherhood in fictional and nonfictional texts as well as in photographs?

Iman Mersal is an Egyptian poet and associate professor of Arabic Literature and Middle Eastern Studies at the University of Alberta, Canada.

This is the fourth book in the Kayfa ta series, a publishing initiative of Maha Maamoun and Ala Younis. Each book in the series is a monographic essay commissioned in the style of how-to manuals that situation themselves in the space between the technical and the reflective, the everyday and the speculative, the instructional and the intuitive, and the factual and the fictional. Design by Julie Peeters.

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.