Through a contemporary rereading of the cult of monogamy, van Saarloos playfully queers the way in which the structure of monogamy is upheld through social convention within Western contexts. Written for more of a lay audience, the book proposes an expanded and polyamorous engagement with intimacy and sexuality as a possible alternative. Originally written in Dutch and published by De Bezige Bij, this new edition has been translated to English by Liz Waters.

In 2013, the filmmaker Chantal Akerman’s mother was dying. She flew back from New York to Brussels to care for her, and between dressing her, feeding her and putting her to bed, she wrote. She wrote about her childhood, the escape her mother made from Auschwitz but didn’t talk about, the difficulty of loving her girlfriend, C., her fear of what she would do when her mother did die. Among these imperfectly perfect fragments of writing about her life, she placed stills from her films. My Mother Laughs is both the distillation of the themes Akerman pursued throughout her creative life, and a version of the simplest and most complicated love story of all: that between a mother and a daughter. With an introduction by Eileen Myles and an afterword by Frances Morgan.

Produced on the occasion of Lexicon of Infinite Movement, at the Kröller Müller Museum, 18 May, 2019–15 September, 2019, the first Dutch museum solo exhibition of Charlotte Posenenske.

The works of Charlotte Posenenske (Wiesbaden, 1930-Frankfurt am Main, 1985) consist of series in an unlimited edition. According to a number of rules, they can be made and repeated—also by others—and combined with each other. With her radical and ‘democratic’ ideas about material, production and authorship, Charlotte Posenenske influenced and shaped conceptual and minimalist art of the sixties.

Curated by Suzanne Wallinga and Eloise Sweetman and featuring the work of Ruth Buchanan (New Plymouth, 1980) and Yeb Wiersma (Groningen, 1973) in reaction to the work of Charlotte Posenenske.

Also available as a PDF.

Produced on the occasion of I See That I See What You Don’t See, the official Dutch contribution to the XXII Triennale di Milano, 1 March–1 September, 2019. Designed by Rudy Guedj.

More than thirty years ago the Swiss-Argentine artist Vivian Suter (*1949) moved to the rain forest in Panajachel, Guatemala, to live on a former coffee plantation. Since then she has worked on her impressive paintings in her wooden-hut studio, as well as outdoors. Her canvases lie on the sandy ground or hang in trees; dust, mud, leaves, mangos, and insects leave their traces on them. Her painting is influenced by organic processes and coincidence—even natural disasters are her material, when flood waters make their mark on canvases, becoming part of her large, colorful paintings. With texts by Adam Szymczyk, contributions by R.H. Quaytman, Moyra Davey, Hendrik Folkerts. Designed by Studio Manuel Raeder.

You can see Rosalind Nashashibi’s film Vivian’s Garden here.

Catalogue produced on the occasion of Cathy Wilkes’ exhibition in the British pavillion at the 58th International Art Exhibition – La Biennale di Venezia. Renowned for her distinctive and highly personal sculptural installations featuring humanoid figures that highlight the tender intimacy of everyday life, Wilkes’ exhibition features new paintings and sculptures that provoke a strong emotional response in viewers, set against the backdrop of the grand architecture of the British Pavilion. This catalogue presents a collection of 13 paintings produced for the exhibition. Designed by Yvonne Quirmbach.