Conceived as a visual résumé, Installation Views provides both a comprehensive overview of Charlotte Posenenske’s solo exhibitions and a record of her numerous group shows.

In her Manifesto, Charlotte Posenenske stated: “I find it difficult to come to terms with the fact that art can contribute nothing to the solution of pressing social problems.” Developing her artistic practice throughout the 1960s, Posenenske produced a body of work that uniquely combined several strands of the art of the period: conceptualism, minimalism, and socially engaged participatory art. Her Manifesto, published in Art International in May 1968, lays out the social demands on art as well as the impossibility of fulfilling those demands. Shortly after its publication, Posenenske left the art world behind to pursue her studies in sociology, undertaking a new career in that field.

Produced on the occasion of the exhibition The Clock Wife at A Tale of A Tub, Rotterdam, October 25, 2025 – January 25, 2026.

Accumulating over three months, The Clock Wife is an exhibition that focuses on artist estate management by presenting four estates through the eyes of the women overseeing them: Marja Bloem presenting her partner Seth Siegelaub; Sue Cramer and Emma Nixon presenting husband and father John Nixon; Johanna Monk presenting her beloved Vanita Monk; and Juf (Bea Ortega Botas and Leto Ybarra) presenting their peer Fran Herndon. At the core of the exhibition is the conflation of administrative and emotional labour inherent to this line of work. Yet an exhibition built around an acknowledgement of the invisibility of certain forms of labour—and an attempt to centre them in turn—has a paradox at heart: how do you make visible that which is not seen?

More information on the exhibition can be found here.

Designed by Maud Vervenne.

Produced on the occasion Vaginal Davis’s exhibition at Gropius Bau, Berlin, in 2025.

The artist Vaginal Davis certainly moves on dangerous ground with her transgressive shuffling of gender and genre boundaries. The self-described “sexual repulsive” co-founded several art/punk bands in her expansive 40-year-plus career, namely Afro Sisters, ¡Cholita!, Pedro, Muriel & Esther (PME), black fag and Tenderloin. As a writer and “Whoracle et Delphi”, Ms. Davis turns her quirky hairy eyeball to the collective practice of making music in the saucy underground scenes of Los Angeles and Berlin.

We started making machines together in 2010. These machines consisted of a sensor and device couplet, by which a sensor would trigger a device to perform a simple task. We experimented with sensor inputs like passing cars and tasks like heat guns blowing up trash bags, or later we would connect the machines to trains and have them push little cardboard cars back and forth. Still triggered by trains, the machines now move clock parts.

We disassemble mechanical clocks, take their parts and combine them with L-brackets, screws, washers, nuts, motors, felt, rubber bands, fishing line, and heat shrink tubing. The characteristics of the clock parts constrain and guide our activities. As we reinvent their function, the parts become less and less recognizable, their movements more and more estranged.

—Michèle Graf & Selina Grüter, 2023

Sands Murray-Wassink is an artist based in Amsterdam. A long-overlooked cult figure in the city’s art scene, his work spans decades, touching on themes of gender, desire, intimacy, mental health, and self-exploration. Deeply influenced by intersectional feminism and queer theory, his practice revolves around, and is shaped by figures such as Carolee Schneemann, Hannah Wilke, Adrian Piper, and Eva Hesse.

Since 2014, Sands has predominantly focused on what he calls “Horse Drawings,” utilizing mostly watercolors and often incorporating quickly drawn texts, on A4 and A3 formats, both on white, coloured paper and found material such as newspapers. These drawings, while sometimes devoid of actual horse imagery, all bear the title and embody the spirit of equine grace, symbolizing a personal journey towards healing.

Designed by Sabo Day.

This book presents previously unpublished work by George Tourkovasilis (1944–2021), a photographer and writer who lived between Paris, London, and Athens. Spanning the 1960s to the 2000s, his images move between diaristic depictions of radically intimate moments and sociological chronicles, while his incisive writing on art, politics, and desire brings its own syncopated reflections. Following his death in 2021, Akwa Ibom, Radio Athènes, and Melas Martinos assumed stewardship of his archive – prints, negatives, manuscripts, correspondence, and digital files – and organized three exhibitions: Spent at Akwa Ibom, The Night, Sleep at Radio Athènes, and Strange Switch at Melas Martinos, which are documented here. Drawing on material unearthed from the archive over the past year, including previously unseen digital and phone photography, this book offers a new perspective on a practice that largely eluded the public eye yet remained prolific and generous in private. Edited by Helena Papadopoulos, Julie Peeters & Maya Tounta. Designed by Julie Peeters.