The early work of Mladen Stilinović was marked by his involvment in poetry and experimental film. His interest soon evolved in the relationship between visual symbols and words, leading to the creation of a series of collages, hundreds of artist’s books, paintings, installations, and videos. Stilinovic’s artwork is characterized by the use of everyday materials, simplicity, social criticism and questioning the role of art.

With an introductory text by by Branka Stipančić. You can see Stilinović interviewed about his artists books here.

Artist book by stanley brouwn, produced by the Wiens Verlag, Berlin in 2013.

The book is a reproduction of the book Taschenbuch der Münz-. Maass- und Gewichtsverhältnisse, Leipzig 1851. It dealt with the entire European measurement system in the middle of the 19th century.

Artist book by stanley brouwn, produced by the Stedelijk Museum voor Actuele Kunst, Ghent in 2001.

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 5 appeared on the occasion of Geys’ archive installation about the role of the media in the Gulf War in the M HKA, and was preceded by a brief pre-publication of documents relating to the execution process of the installation and an introduction by Bart De Baere.

An animation of the contents of the book courtesy of the Frans Masereel Centre can be seen here.

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 4 (2017) begins with a detailed index of Geys’ archive, a complete station novel with annotations by Geys, and continues with documents relating to cultural subsidies and correspondence concerning the foundation of an association for visual artists who fought in the early seventies for a social status for visual artists.

An animation of the contents of the book courtesy of the Frans Masereel Centre can be seen here.

Carrot Jokes are a genre of dense, joke-like texts first proposed by cognitive linguists Chlopicki and Petray (1981) to undermine emerging computational models of humor analysis. These jokes, further developed by others in the field, depend on a preponderance of background incongruities, blunt omissions, faulty script switch-triggers, “gray” implicature, and missing links in inferencing.

Michael Portnoy’s practice spans dance-theater, vocal power-tools, Relational Stalinism, reptangles, abstract gambling, the improvement of biennials, and Icelandic cockroach porn. His art circles the rules of play and communication—language itself playing a crucial role in the works.