In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy. Archief 6 and 7 (2022) are the final two volumes in the series. Edited by Sofie Dederen.

In 2015, the Frans Masereel Centre started a collaboration with Geys to publish parts of his archive. The first archive publication, Archief 1 and Archief 2, consists of two thick volumes in A4 format with more than 800 scanned archive documents, and appeared on the occasion of Geys’s solo exhibition in the SMAK in 2015. The material was presented as it was, without any explanation or hierarchy. Archief 6 and 7 (2022) are the final two volumes in the series. Edited by Sofie Dederen.

Inge Grognard, Makeup 1989–2005 features the formative work of one of the fashion world’s most revered makeup artists. From the first days of  Maison Martin Margiela through to contemporary Balenciaga, Inge Grognard has spent her career as an integral part of  fashion’s avant garde. Grognard’s aesthetic approach revolutionised makeup in the nineties and this book documents her work at that time, featuring imagery from campaigns, runways and editorials for brands such as Raf Simons, Dries Van Noten, Maison Martin Margiela and A.F. Vandevorst.

Produced on the occasion of the exhibition Thea Djordjadze: Se souvenir et témoigner at MAMC+, Saint-Priest-en-Jarez, 5 February–15 May, 2022.The publication unveils materials, archives and writings from the artist in the first part, while the second combines exhibition views from the Gropius Bau in Berlin and the Musée d’art moderne et contemporain de Saint-Étienne to apprehend her sense of installation and composition in two opposite spaces. An interview with the artist by MAMC+ director Aurélie Voltz and an essay by the art historian Thomas Boutoux.

Rose Nolan works across paint­ing, instal­la­tion, sculp­ture, pho­tog­ra­phy, prints and book pro­duc­tion. Her prac­tice reg­u­lar­ly oscil­lates between the dis­crete and the mon­u­men­tal and is informed by a strong inter­est in archi­tec­ture, inte­ri­or and graph­ic design—com­bin­ing for­mal con­cerns with the lega­cies of mod­ernism. Nolan’s prac­tice is known for its inves­ti­ga­tion of the for­mal and lin­guis­tic qual­i­ties of words, direct­ly using lan­guage to trans­form the archi­tec­tur­al space they inhab­it. By mak­ing language con­crete in this way mean­ing is allowed to be approached differently.

With a text by Ingrid Perez and photography by Christian Capurro. Designed by Rose Nolan and Warren Taylor. Edition of 100 hand-numbered and initialed by the artist.

Recorded documentation of a reading that took place in Berlin in April 2021. Jimmie Durham reads from his books Columbus Day 1983, Poems That Do Not Go Together 2012, and Particle/Word Theory 2020, as well as other, unpublished poems. The record includes an accompanying booklet with drawings by Jimmie Durham and a text by the poet Ammiel Alcalay, who locates Durham’s poetry in American literature.

Jimmie Durham was an artist, poet, essayist and political activist. In 2019 he was awarded the Golden Lion for his life’s work at the Venice Biennale.