Produced on the occasion of Jef Geys, Bergen Kunsthall, 20 November, 2020–5 April, 2021.

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.

More information on the exhibition can be found here.

Nicholas Tammens talk Jef Geys and the School can be found here.

Quilt #01–#30 presents a series of quilts–silkscreen printed fabrics (2013–ongoing) by Philipp Gufler. By combining text and image, Philipp Gufler’s series of works refers to artists, writers, LGBTIQ+magazines and lost queer spaces, which are often omitted from the usual history books. The subjects that are central to Gufler’s quilts are closely related to his own artistic practice and interests, but also his personal life. The publication features an essay by Laurie Cluitmans, curator of contemporary art at the Centraal Museum. Designed by Stefanie Hammann.

Produced on the occasion of the survey exhibition, Charlotte Posenenske: Work in Progress at the Kunstsammlung Nordrhein-Westfalen, 30 May–2 August, 2020.

In the 1960s, parallel with American Minimalism and the emerging Conceptual Art, Charlotte Posenenske (1930–1985) developed an impressive body of minimalist works within just twelve years, thus demonstrating her innovative understanding of art. Although the artist, who worked in Frankfurt am Main, exhibited during her lifetime together with artists such as Carl Andre, Donald Judd, and Sol LeWitt, and, in 1967, had an exhibition in the gallery of Konrad Fischer in Düsseldorf, which had opened only shortly before, her contribution to the discourse of Minimalism and Conceptual Art remained largely ignored for a long time.

As part of his practice as an artist and professor Christopher Williams’ art is founded in historical research, and the manifestations of realism in relationship to theatrical, cinematic, and photographic production from the late 60s and early 70s in Germany. Thus he inevitably came across the plays of legendary German author Franz Xaver Kroetz, this first English language translation of his play Inklusive (1971) is the product of his curiosity. Inklusive consists of seven scenes of tightly scripted dialogue of a West German couple on a prepaid all-inclusive vacation package in Italy. It is the 2nd part of a new series of books edited, designed and produced by Christopher Williams.

Initiated and designed by Stepan Lipatov, based on the project by Karin Nurnberg Iturralde, a documentation and mapping of rucola growing wild in Amsterdam.

Produced on the occasion of R.H. Quaytman: The Sun Does Not Move, Chapter 35, Muzeum Sztuki, Lodz, a kind of conceptual retrospective, where the artist has re-read earlier Chapters of the constantly developed project, and returned to its origins closely related to Lodz and the works by Katarzyna Kobro and Wladyslaw Strzeminski. Apart from precisely selected works from earlier chapters, the exhibition has presented new paintings in which R.H. Quaytman continues her dialogue with the work of Polish artists and explores other aspects of her personal relationship with the Lodz museum.