Impossible Dreams was Pati Hill’s last published novel, released in 1976 after it was partially published two years earlier in the Carolina Quarterly under the title “An Angry French Housewife.” Hill tells the story of Geneviève, a middle-aged woman whose life is turned upside down when she unexpectedly falls in love with her neighbour, Dolly. Mixing anecdotes with existential thoughts, the novel describes the gradual disruption of the heroine’s daily life. Almost every chapter (the length of which varies from a single sentence to no more than three pages) is accompanied by a xerograph of a photograph, selected by Hill with permission from its maker. The resulting combination of text and image constitutes her most ambitious attempt to produce a work in which “the two elements fuse to become something other than either.”
Produced on the occasion of the exhibition Park McArthur: Contact M bringing together, for the first time, artworks made between the 2010s and 2020s. These artworks and the forms they take are guided by personal and social meanings of disability, delay, and dependency.
Co-organized by Museum Abteiberg, Mönchengladbach and mumok in Vienna, the exhibition is a collaboration between both institutions and will be presented simultaneously at both locations. Questions of simultaneous experience and access to art and culture shape this project’s format and purpose.
Produced on the occasion of Kazuna Taguchi’s exhibition I’ll never ask you at MUMOK, Wien, 13 June–16 November, 2025.
Taguchi’s meticulously composed monochrome photographs convey body fragments, gestures, and gazes that resonate with the surrealist tradition concerning the questioning of the photographic representation of the female body. This can be moments of the phantomic or Yūgen*-like, images that capture a figure in a state between appearance and disappearance.
*According to the Japanese poet Kamo no Chōmei (1155–1216), yūgen is a feeling that is not openly expressed in words, but symbolically indicated by images.
Designed by HIT.
The first total survey of Jef Geys’ work. Art critics commonly describe the work of Belgian artist Jef Geys (1934–2018) as “unruly, and impossible to categorize in conventional art-historical categories.” Despite Geys’ subversive and critical attitude towards the art world, this ambitious publication shows that his work is not only deeply engaged and socially critical but also funny and sensory.
Since the early 1960s Geys had compiled an archive of everything he considered part of his artistic practice in to form of his “List of Works” serving as his oeuvre’s index. With a total of 844 entries, Catalogue Raisonnable, is the first total survey of Jef Geys’ work. Through access to the artist’s archive, close collaboration with Geys’ next of kin, and thorough art-historical research, this publication offers a rare opportunity for understanding and appreciating the fascinating practice of one of Belgium’s greatest artistic figures.
Designed by Joris Kritis & Adriaan Van Leuven.
Unbidden Tongues #9: Potty Mouth is a collection of what could be described as concrete poetry, written over the past two years by our niece Violet Bartley, now aged five. Typed at a computer and sent exclusively via e-mail, the poems stand as clear evidence of a person in the beginnings of grasping (at) language. Throughout, characters are repeated uninterrupted until margins break them, keys pushed down by a finger not yet strong enough to lift itself up.
Over the years, as her written vocabulary grew and these attempts at communication slowly stacked up into the collection printed here, Violet delivered poem after poem within which different mutations of the word ‘poo’ were uttered in type: poo, poobum, bum poo, ipoo, poop. While simple, often illegible and definitely isolated utterances (she never replies when you send a poem back in turn), they are decipherable examples of someone learning defiance through language.
Produced on the occasion of the exhibition Burnett, Faulkner, Evans, curated by Andrew Christopher Green at Jacqueline, Athens, 26 September–25 October, 2025.
Burnett, Faulkner, Evans is centred around a film Charles Burnett made in 1973 called The Horse. It is shown alongside works that Burnett has recognised as its primary influences, namely photographs by Walker Evans and the writing of William Faulkner. The exhibition also explores the influence Evans and Faulkner had on one another, and an exchange that took place between them in the magazines Vogue and Harper’s Bazaar. Designed by Robert Milne.