An artist book project made from printed material recycled from SculptureCenter’s offices and storage areas, produced onsite during a series of workshops in the gallery between June 7–16, 2019. Leftover printed material were mulched and soaked, then reconstituted in catalog-sized blocks that will function as the exhibition’s publication. They were subsequently screen-printed with a title (Fiona Connor, SculptureCenter) and the names of the workshop participants. Edition of 192.

Edition of 80 copies signed and numbered by the artist, plus 8 artist’s proofs.

道具 / Tool consists of a set of four printed images of forks (two made of silver, two of plastic). Dramatically enlarged and slightly deformed, the utensils stand against a black background, strongly affirming their presence—until they are folded and put back in their custom-made box.

As in some of her previous works, Batia Suter is dealing here with typology and objecthood. These four images—which the artist photographed from her own collection of absurd cutlery—look like samples from a kitchenware catalogue focusing as much on the common features of forks as on their potential deformities and eccentricities. Recalling Karl Blossfeldt’s close-up photographs of plants, they highlight the specificity and variety of forms hidden in ordinary things, as well as the strange, almost threatening nature of these “predatory” tools.

Signed, dated, numbered, edition of 2 + 1 ap.

Margaret Honda’s films grow out of a sculptural practice that privileges a material relationship to the medium above any narrative or representational concerns. Honda aims to reconsider the standards of film production protocols, often rearranging the order in which things are done or utilising only certain aspects of the production chain.

Edition of 26 copies and 4 artist’s proofs, numbered and signed by the artist.

Although the title of this edition, Un jour sans pain* est un jour sans soleil [“A day without bread is a day without sun”], sounds like a typical French saying, it is simply a sentence glimpsed in a bakery where Ana Jotta used to go in Paris. But the asterisk complicates things a little: on the back of the leporello, the artist instructs us to read “pain” in the English, thus adding a sarcastic touch to this commercial motto.

The (absence of) sun and the umbrella, as well as the wallpaper designed for the presentation of the edition at Keijiban, can refer to the tsuyu, the rainy season during which they were exhibited, in the open air.

Edition of sixty copies numbered and signed by the artist on a certificate and twelve artist’s proofs.

Halo is a unique specimen in Jochen Lempert’s body of work. While the artist is known for his distinctive black and white analogue photographs, for this edition he also included colour. Obviously, this is a subtle, careful, and consistent shift. The photograph here is only partially hand-coloured, with a pale yellow that is perfectly in tune with the nuances of the grey.

Secret Outlines: Versailles (1996–2020) is the facsimile reproduction of one of the eight variations of the Secret Outlines (1996) series in which Jacqueline Mesmaeker over her way into books through graphic interventions, collages, and cuttings. For this edition, published by Keijiban (Kanazawa) and printed by Cultura (Wetteren) on Gardapat 150g paper, the artist has added five original drawings made with Caran D’Ache sapphire blue pencil to each of the thirty signed and numbered copies.

More images of the associated exhibition can be seen here.