Artist zine reprinted in facsimile. Beverly Buchanan is best known for her later work, her sculptures of shacks, her architectural fragmentations. But she always kept a practice deeply producing various forms of printed matter. Personal notebooks, journals, scrapbooks, artist statements, clippings, photographic materials, illustrations, business cards and various zines, all were integral in her multi-layered oeuvre and are essential in understanding how she navigated between the various elements of impermanence, control, and the monumental. They also show how she used wit and fragility as a method or even a force of emotion.

Artist zine reprinted in facsimile. Beverly Buchanan is best known for her later work, her sculptures of shacks, her architectural fragmentations. But she always kept a practice deeply producing various forms of printed matter. Personal notebooks, journals, scrapbooks, artist statements, clippings, photographic materials, illustrations, business cards and various zines, all were integral in her multi-layered oeuvre and are essential in understanding how she navigated between the various elements of impermanence, control, and the monumental. They also show how she used wit and fragility as a method or even a force of emotion.

Artist zine reprinted in facsimile. Beverly Buchanan is best known for her later work, her sculptures of shacks, her architectural fragmentations. But she always kept a practice deeply producing various forms of printed matter. Personal notebooks, journals, scrapbooks, artist statements, clippings, photographic materials, illustrations, business cards and various zines, all were integral in her multi-layered oeuvre and are essential in understanding how she navigated between the various elements of impermanence, control, and the monumental. They also show how she used wit and fragility as a method or even a force of emotion.

Produced on the occasion of Kazuna Taguchi’s exhibition In Anticipation at Brunette Coleman, London, 7 March–18 April, 2026.

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.

This catalogue accompanies C C, Michael E. Smith’s exhibition in the underground spaces of Palazzo Bentivoglio, Bologna (30 January–26 April, 2026), curated by Simone Menegoi and Tommaso Pasquali.

Conceived for the undercroft of the palazzo, the project treats architecture, light, and objects as a single, unstable field. Rather than using the space as a neutral container, Smith works with its darkness, irregularity, and infrastructural presence, producing a sequence of thresholds, pauses, and zones of partial visibility.

Bill is an annual magazine that prioritises visual reading of its photographic stories without the distraction of text. The 192 offset pages are printed in CMYK, silver, and black and white on a dozen different paper stocks, along with some Japanese bound signatures. Contributors to this sixth instalment include conceptual artist Rosemarie Trockel, Croatian artist Hana Miletić, RareBooksParis, architect and designer Thorben Gröbel, Japanese artist Yuji Agematsu, French artist Claude Closky, California-based artist Sam Contis, Dutch photography studio Blommers/Schumm, photographer Michael Schmidt, Swiss artist Beat Streuli, and photographer Adrianna Glaviano.