Produced on the occasion of Diamond Stingily’s solo exhibition dead Daughter at Cabinet, London, 9 September–13 November, 2021.

Diamond Stingily addresses the materiality and mythology of identity and social class. Using everyday found objects such as hair, doors, or chains, Stingily negotiates personal and collective memories by relating them to social and economic questions.

Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Jef 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.

Produced on the occasion of the comprehensive retrospective, Daniel Spoerri at Kunstforum Wien, 24 March – 27 June, 2021.

Daniel Spoerri is a Swiss artist and writer, best known for his “snare-pictures”, a type of assemblage or object art, in which he captures a group of objects, such as the remains of meals eaten by individuals, including the plates, silverware and glasses, all of which are fixed to the table or board, which is then displayed on a wall. He also is widely acclaimed for his book, Topographie Anécdotée du Hasard (An Anecdoted Topography of Chance), a literary analog to his snare-pictures, in which he mapped all the objects located on his table at a particular moment, describing each with his personal recollections evoked by the object

Leon Filter’s artist book MUMMYTHEDADDY is a collection of personal anecdotes, and written images that explore paternal relationships, inherited memories and experiences with familiar roles. Through stories of military service, dementia, and monsters, the author reflects on the complexities of family histories. By examining how we remember and forget, MUMMYTHEDADDY emphasizes the contributions of narratives in shaping our understanding of how intergenerational dynamics form, and proposes to reshape roles within dependency relationships. With afterwords by Valentina Curandi.

Produced on the occasion of the exhibition Un-titled: Elizabeth Newman at Drill Hall Gallery, Canberra, 20 November, 2021–23 January, 2022. The exhibition surveyed Newman’s body of work, ranging from collage, installation, text-based, textile or found object, and all infused with painterly notions of re-presentation. Hovering around the edges of signification, embracing affect and the act of becoming, her work pivots around reversals of positive and negative, challenging the limitations of language while paradoxically affirming the plasticity of our systems of understanding.

Essays by Tony Oates and Frances Plagne. Designed by Small Tasks.

For Langstme, Kunsthuis SYB’s 2021 triennale, Ash Kilmartin revisited her research on klokkenstoelen, notes and memories from her residency in 2019. The resulting thoughts turn around the traditional production of the bells, their historical functions and folklore in the village life around Beetsterzwaag, Friesland. Dutch translation by Caspar Stalenhoef. Designed by Linus Bonduelle/Studio Lieneman. The book is accompanied by a sound piece which can be listened to here.