“Behind the standards put in place for the communication related to his exhibitions—the use of lowercase and Helvetica exclusively, the refusal to reproduce images of his work, to produce (or allow production of) written commentary on the subject of the same work, to appear in the context of a vernissage or even to answer an interview—the artist stanley brouwn builds his identity by way of ellipses. The invitation cards for his solo exhibitions provide a symptomatic example: set almost exclusively in Helvetica, the absence of uppercase, flying in the face of the graphic identity of the gallery or the host institution, they seem impossible to date, give or take twenty years”—Céline Chazalviel, Revue Faire –To look at things #4, 2017

Reprint of Simone Forti’s 1978 publication Angel. Originally produced as a document of a 1976 performance at Fine Arts Building, which included readings and the hologram Angel. With photos by Babette Mangolte.

Produced on the occasion of the exhibition Borrowed Space at Emergent, Veurne, 1 July–16 September, 2018. Edition of 300 copies

”Iʼve gathered so many books (….), all about the family. This is all washing over me like a waterfall. I canʼt figure out the genealogy, the chronology flows like currents that wind around each other at different rates. (…). And now Iʼm recognizing that Iʼm part of this tribe, this family of writers writing about our tribe.”

These sentences can be found in Simone Fortiʼs new publication, The Bear in the Mirror—a wonderful collection of stories, prose-poems, drawings, photos, letters, notes and memories.

Simone Forti dives into the (his)stories of her family and of the woollen mills they once owned, trying to put all the myths and fragments of information into some kind of perspective.

Edited by Roos Gortzak and Quinn Latimer. Designed by Nerijus Rimkus.

Casual Relationships explores the mechanisms at work in the construction of visual culture. By carefully curating and simulating photographs from contemporary vernacular sources, Max Creasy identifies the way these images are endorsed within social groups and norm circles. The sequencing and design of the publication articulate the associations and patterns discerned from this promiscuous collection of images. The book is offered as a 56pp single section mounted into a case with exposed core and 4 foil blocks to cover.

Designed by OK-RM, London.

An artist book by Jay Chung and Q Takeki Maeda that offers summaries of several hundred documents from the archive of gallerist Alfred Schmela, now housed in the Getty Research Institute collection. Through his gallery, Schmela introduced and promoted innovative European and American artists such as Joseph Beuys, Arman, Gerhard Richter, ZERO (Otto Piene, Günther Uecker and Heinz Mack), Hans Haacke, Christo, Lucio Fontana, Robert Indiana and Yves Klein. For Letters, Chung and Maeda concentrate on the final years of the gallery’s operations, beginning from 1980 when, upon his death, the gallery was taken over by Schmela’s daughter Ulrike. With active support from his wife Monika, the gallery operated under Ulrike’s directorship until its closure in 1992.

Edition of 300. Introduction by Helen DeWitt. Designed by Ronnie Fueglister.